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Full text of "The Early Plays Of James A. Herne With Act IV Of Griffith Davenport"

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AMERICA'S LOST PLAYS 

VII 

The Early Plays of 
JAMES A. HERNE 

VIII 

THE GREAT DIAMOND ROBBERY 
and Other Recent Melodramas 



A series in twenty volumes of hitherto unpublished 
plays collected with the aid of the Rockefeller 
Foundation, under the auspices of the Dramatists' 
Guild of the Authors' League of America, edited 
with historical and bibliographical notes. 

BARRETT H. CLARK 
GENERAL EDITOR 

Advisory Board 

ROBERT HAMILTON BALL, QUEENS COLLEGE 
HOYT H. HUDSON, PRINCETON UNIVERSITY 

GLENN HUGHES, UNIVERSITY OF WASHINGTON 
GARRETT H. LEVERTON, FORMERLY OF NORTHWEST- 
ERN UNIVERSITY 

E. C. MABIE, UNIVERSITY OF IOWA 

ALLARDYCE NICOLL, YALE UNIVERSITY 

ARTHUR HOBSON QUINN, UNIVERSITY OF 

PENNSYLVANIA 
NAPIER WILT, UNIVERSITY OF CHICAGO 



The 6arly "Plays of 

James A. Herne 

WITH ACT IV OF 

GRIFFITH DAVENPORT 



EDITED WITH AN INTRODUCTION BY 
ARTHUR HOBSON QUINN 



INDIANA UNIVERSITY PRESS 
BLOOMINGTON 



Requests for authorization of the use of any of the plays in this 
volume on the stage, the screen, or for radio or television broad- 
casting, or for any purpose of reproduction, will be forwarded by 
Princeton University Press to the proper persons. 



ALL RIGHTS RESERVED 

Copyright 1940 by Princeton University Press 
Reissued 1963 by arrangement with Princeton University Press 

Manufactured in the United States of America 
Library of Congress catalog card number: 63-18068 



CONTENTS 

Introduction vii 

Within an Inch of His Life i 

"The Minute Men" of 1774-1775 43 

Drifting Apart 101 

The Reverend Griffith Davenport 137 

Bibliography 161 



INTRODUCTION 

THESE plays of James A. Herne, now printed for the first time, represent 
him in the earlier stages of his career, with the exception of the frag- 
ment of The Reverend Griffith Davenport. He was born February i, 
1839, at Cohoes, N.Y., and made his stage debut as George Shelby in Uncle 
Tom's Cabin at the Adelphi Theatre in Troy, in 1859. After playing several 
seasons with stock companies in Baltimore, Philadelphia and Washington, he 
became the leading man for Lucille Western, and his first visit to California, 
in 1868, was with her company. It was in the 'seventies, however, when he 
became the stage manager at Maguire's New Theatre in San Francisco, that 
he began to write plays. His great admiration for Dickens is reflected 
not only in some of these adaptations, which have perished, but also in his 
acting parts such as Caleb Plummer, Danl Peggotty and Captain Cuttle. 
Herne preferred to represent real life upon the stage, but he had also the 
actor's inherent love of romance and his first adaptation to survive in manu- 
script represents an interesting example of his collaboration with David 
Belasco, at all times a romantic artist. 

Of even more importance for Herne's future career was his marriage with 
Katharine Corcoran, to whom he gave her first opportunity as an actress in 
1877 and who, after their marriage in 1878, joined the Baldwin Theatre Stock 
Company. Her encouragement and her understanding of dramatic values 
were of inestimable advantage to Herne in his playwriting, and in his most 
important plays the leading part was interpreted by her with a skill which 
was amply recognized by contemporary dramatic criticism. 

Within an Inch of His Life is a free adaptation of Emile Gaboriau's novel, 
La Corde au Cou. Miss Julie Herne is of the opinion that her father worked 
from an English translation, as his study of French began only in 1896. The 
relative shares o Herne and Belasco- it is not possible now to assign ac- 
curately. Belasco's representation of the fire scene through red and yellow silk 
slips was one of his early successful bits of stage mechanics. The manuscript 
is not in the handwriting of either, but it remained in the possession of Herne 
and certain marginal notes are clearly in his script. The dramatization of 
La Corde au Cou, while it accentuated certain of the melodramatic elements 
of the original and even created new ones, is not on the whole unskilful. The 
painstaking details which French legal customs forced Gaboriau to insert, 



viii INTRODUCTION 

are done away with with a cheerful disregard of facts, amply justified by the 
directness of the play. While Herne and Belasco might have made a good 
scene out of the trial, the omission of the detective, Goudar, and his investiga- 
tion of the illicit relations of Jacques de Boiscoran with the Comtesse de 
Claudieuse, as they are called in the novel, is a distinct improvement. The 
playwrights establish the relations of these two in Act I, Scene 2, which is not 
in the novel, but which is described much later by Jacques to his attorney. In 
the play the audience is put at once into possession of a knowledge of these 
relations, and suspicion is directed against the Comtesse. Her denunciation of 
Jacques is made the climax of the act. This greater emphasis makes Jacques' 
revelation of their relations more consistent with his role of hero. Another 
change was made by having Dionysia Chandore overhear the confession of 
Jacques to his counsel, and yet assert her love for him still. In the novel, she 
discovered his relation to the Comtesse by a slip of the attorney's tongue. The 
play thus carries over from the novel the strong motive of her devotion to her 
lover, but it establishes this motive earlier, and, in the hands of Katharine 
Corcoran, she was evidently an appealing figure on the stage. 

In the novel, Jacques is condemned not to death but to twenty years' im- 
prisonment, and his release is secured not only through Cocoleu's confession, 
but also through the Comte's dying statement that he believes Jacques inno- 
cent. 

The most effective change came in the character of Cocoleu. In the novel 
he is simply an imbecile, devoted to his mistress, who reveals his crime to the 
detective under the influence of liquor. In the last scene of the play, however, 
his devotion is an active, not merely a passive force, and he conies of his own 
accord to the prison, and establishes much more convincingly the motive for 
the murder. 

The Minute Men of 1774-1775 is the first surviving play of Herne's which 
may be considered entirely original. It represents a transitional stage in his 
development. The plot is conventional, and the historical background is not 
convincingly worked into the dramatic movement. Herne anticipated later 
writers, however, in making Lieutenant Smollet a natural, likable gentle- 
man instead of the caricature which the British officer so often became in our 
drama of the Revolution. Ann Campbell may seem exaggerated for purposes 
of low comedy, but she was not unlike the pioneer type whose services to the 
Revolution are matters of record. The achievement of Herne in this play lay 
in the character of Dorothy Foxglove, written for Mrs. Herne. Whenever she 
appears, the stage takes on life. Instead of being merely receptive, like the 
usual romantic heroine, she is an active force, dominating the scene, but rul- 
ing it through her charm and spontaneity, which are reflected even in the 



INTRODUCTION ix 

manuscript. In the hands of Katharine Corcoran, they must have been 
irresistible. 

The criticisms in the Philadelphia Ledger and the Philadelphia Press of 
April 7 speak of the effectiveness of the production, which was enthusiasti- 
cally received by the audience. 

Herne's next step in the progress toward realism is represented in Drifting 
Apart. The manuscript of this play has disappeared and the early form here 
printed under its first title, Mary the Fishermen's Child, underwent much re- 
vision before it saw the stage. It is hardly fair to judge Herne by this pre- 
liminary draft. The low-comedy scenes which he himself stigmatizes as 
"weak" are certainly overstressed. 

What makes the play of especial interest, however, is the early use of the 
dream scene in Acts III and IV. Any competent dreamer will recognize the 
confusion of motivation in the third Act, especially in the relations of Mary 
and Percy, as quite in keeping with a dream in Jack's state of mind. Also 
quite natural, in a dream, was the transition to stark tragedy in the fourth 
Act. Such a scene as that which closed the fourth Act seems quite in keeping 
with modern stage technique. But in 1888 it was daring, for audiences still 
felt called upon to be shocked by such death scenes, unless they were placed 
in the past, and dignified by the glamour of poetry. 

Drifting Apart, though it ran for two hundred and fifty performances, was 
not considered a financial success. According to Mrs. Herne, audiences dis- 
liked having their feelings harrowed by what turned out to be a dream. But 
the play attracted the attention of realists like William Dean Howells and 
Hamlin Garland, and Herne was encouraged to write his epoch making play, 
Margaret Fleming. Shore Acres followed and after a romantic play, My Col- 
leen, which has been lost, came The Reverend Griffith Davenport. This was 
based upon a novel, An Unofficial Patriot, by Helen H. Gardener. Herne 
moulded this loosely constructed story into a unified drama to which con- 
temporary criticism gave a high place for its sweep and color and for its 
character portrayal. 

The unique manuscript of Griffith Davenport was burned in the fire which 
destroyed Herne Oaks. When the late Brander Matthews was in London in 
1925, he was presented with the manuscript of the fourth Act, which is here 
printed. It had been found among the papers of the critic, William Archer, 
and his executors, knowing Archer's high opinion of Herne's work, felt it 
should be preserved in the United States, In a recent letter of C. Archer, he 
speaks of his late brother's attitude: 

"In his [William Archer's] article on The Development of American 
Drama (Harper's Monthly Magazine, December 1920), speaking of the state 



x INTRODUCTION 

of the drama in 1899, he says: In Shore Acres and Sag Harbour James A. 
Herne was producing delicately faithful pictures of rural life; while in Grif- 
fith Davenport (an unappreciated and now lost work) he had created an 
exquisitely true and beautiful drama of American history.' " 

Brander Matthews loaned me the manuscript on his return and I had 
copies made for Mrs. Herne, for the collection of manuscripts in the Library 
of the University of Pennsylvania, and for Dr. Matthews. He stated to me at 
that time that it was his intention to deposit the original manuscript in the 
Brander Matthews Dramatic Museum at Columbia University. The manu- 
script has not been found, however, either at Columbia or among his papers. 
It would have again been lost if the copies had not been made. For the scena- 
rio of the other Acts, which is printed as an introduction to Act IV, I am 
indebted to Mrs. Herne and to Miss Julie Herne, who acted Emma West in 
the play. 

I have deemed.it best to print the plays, so far as possible, exactly as Herne 
wrote them. Students of the drama will be interested to have the stage direc- 
tions reproduced just as a practical playwright of that era indicated them for 
his actors. Obvious mistakes in spelling and punctuation made by copyists 
have, however, been corrected. 

It has not been possible to give complete casts of those who acted in the 
first productions of the plays. Information derived from T. Allston Brown's 
History of the New Yor^ Stage, from William Winter's Life of Belasco, 
from the newspapers and from Miss Julie Herne, has been incorporated in 
the casts as given. Unfortunately, no programs remain in Mrs. Herne's posses- 
sion. The cast of The Minute Men was furnished by the courtesy of Mrs. 
Charles Wesley Phy, from the notes of her late husband, who at the time of 
his death had almost brought to completion his History of the Philadelphia 
Stage from 1878 to 1890. 



WITHIN AN INCH OF HIS LIFE 



CAST OF CHARACTERS 

{Grand Opera House, San Francisco, February ij, 



JULES DE DARDEVILLE 

DR. SEIGNEBOS 

COUNT DE CLAIRNOT 

COCOLEAU 

GALPIN 

SENESCHAL 

MECHINET 

FOLGAT 

MAGLOIRE 

BLANGIN 

RIBOT 

GAUDRY 

PIERRE 

GENEVIEVE, Countess de Clairnot 

DIONYSIA CHANDORE 

COLLETTE 

GENDARMES, PEASANTS, ETC. 



JAMES ONEILL 

J. W. JENNINGS 

JAMES A. HERNE 

LEWIS MORRISON 

A. D. BRADLEY 



WILLIAM SEYMOUR 
JOHN N. LONG 

ROSE WOOD 
KATHARINE CORCORAN 



ACT I. 

SCENE i: Forest of Rochpommier. Time: Night. Enter Gaudry, a ragged 
poacher, R.iJE. 

GAU. A good night for poaching! Dark as pitch, and every keeper snug in 
bed! My traps are set and before morning will catch game enough to keep 
me a week. Hark! Some one comes. [Loo^s off R.iJE.] Who can it be? He 
who walks the forest of Rochpommier at this hour has business of more im- 
portance than gathering chestnuts. [Enter Jules de Dardeville, hurriedly, 
R.iJE., with gun. See description in Act IL] 

JUL. A good path: deserted, and not a soul stirring. So far, so good. 

GAU. [Aside, from concealment] It is Jules de Dardeville, who is going to 
be married to the heiress, Miss Dionysia. I'd better be off! Teaching's danger- 
ous business. [Sneaks off L.iJE.] 

RIB. [Outside R.iE.] Hello, there! 

JUL. [Starting] Some one coming! It is too late to hide myself. 

RIB. [Entering R.iE.] Who's there? 

JUL. A stranger; on his way to Brechy. 

RIB. [Aside, eyeing Jules closely] On his way to Brechy? Well, he has 
taken a rather roundabout way to go to Brechy! [Aloud} Why, the high road 
would fetch you there in half the time. 

JUL. [Quickly] I I did not mean Brechy. I meant Seille. 

RIB. Ha! Ha! Seille! Come, that's good! The nearest road to Seille is by 
the cross-road. 

JUL. True! True! 

RIB. True! Come, confess; confess at once! There's a woman in it. You're 
good-looking, like me! There's some one in the woods dying to see you; and 
you are dying to see some one. That's me! I don't deny it; I glory in it. Only 
I'm not so spooney as to get bothered and mixed up when I'm caught, eh? 
Ha! Ha! [Laughing and poking Jules] 

JUL. [Affecting a laugh] Really, my friend, you mistake me! I am going 
to shoot tomorrow at Seille. You see! Here's my gun! 

RIB. Yes. Ha! Ha! And so am I! Only it isn't exactly that kind of game. 
[Bell strides eleven] Eleven o'clock! I must be off. I wish you luck anyhow; 
only, stranger, look out. It's dangerous business. [Going L., aside] That's 



4 JAMES A. HERNE 

Jules de Dardeville. The sly dog don't know Ribot, but Ribot knows him. 
[Exits chuckling] 

JUL. Dangerous business? Yes. Too true, too true! I have been observed, 
but not recognized. [Examining gun] One barrel empty. It's best to be pre- 
pared for an emergency. \Ta\es cartridge box from pocket and puts cart- 
ridges in gun} There! Thank Heaven tonight will decide this ugly affair 
and, I hope, forever. [Exits L./.E.] 

SCENE 2: Valpinson by moonlight. Chateau with large massive doors. Bal- 
cony, steps, etc., C+ Private entrance concealed by shrubbery, etc. f etc. For full 
description of scene, see diagram^ Enter Countess Clairnot, hurriedly, from 
private entrance R.jJS. She loof^s around to see that she is not observed. 

COUNTESS. [Coming C.] Another hour and the dream of my life is broken. 
Yes, one short hour will end it all. Oh, Count Clairnot, you were cruel to 
forget that you were thirty years older than your wretched bride! I sacrificed 
myself to save my father's honor. But the restoration of that honor has been 
the ruin of a life! From that moment, I have hated and despised you! My 
father owes his life to you and your gold and I I, all my shame and 
despair. [Turning towards R-jE-] He comes! Jules de Dardeville; the lover 
of Countess Clairnot. [Laughs] What would the world say, did they hear 
that? The world- [Enter Jules RjJE.] 

JUL. Genevieve. 

COUNTESS. [Coldly] You have come. Jules de Dardeville, let us understand 
each other. You have proposed the mutual return of our correspondence. You 
say your mother wants you to marry. And you what do you want? 

JUL. I? [Laughs] I want nothing just now. But the thing will have to be 
done, sooner or later! A man must have a home must have domestic re- 
lations, which the world acknowledges 

COUNTESS. And I what am I to you? 

JUL. You you, Genevieve! I love you with all the strength of my heart! 
But we are separated by a gulf. You are married. 

COUNTESS. Married. In other words, you have loved me as a toy. I have 
been the amusement of your idle hours; that love, that romance, which 
every man must have. Now you are getting serious, and you leave me. 

JUL. You you have your home, your husband, your child 

COUNTESS. [Bitterly] Yes. I shall live here at Valpinson when every place 
recalls to me your presence. I shall live here with my husband, whom I have 
betrayed; with my child, who is [Turning to him expressively] 

1 No diagram was discovered with the manuscript. 



WITHIN AN INCH OF HIS LIFE 5 

JUL. Genevieve! This cannot last forever. Through my mother's earnest 
desire not mine I am betrothed to Dionysia Chandore. Shortly she will 
become my wife. 

COUNTESS. [Fiercely] Your wife! No, Jules, no! That shall never be! 

JUL. [Quickly] What would you do? 

COUNTESS. Do? [Slowly and deliberately} I should give your letters to my 
husband. 

JUL. You would not do that! 

COUNTESS. [Calmly} Do not try me too far. [Looking at him with a smile} 
You are surprised at my determination, Jules de Dardeville. Hitherto, wives 
who have deceived their husbands have not held their lovers responsible. 
They have been betrayed but dared not cry aloud; abandoned, only to sub- 
mit and hide their tears for who would pity them ? But what no one dares, 
I dare! It shall not be said that in our common fault there are two parties, 
and that you shall have all the advantages and I must bear all the disgrace. 
What? You would be free, that you might console yourself with a new love! 
And I I should have to sink under my shame and remorse. No! No! Such 
bonds as ours are not broken so easily. You belong to me! You are mine; 
and I shall defend you with such arms as I possess. I told you I valued my 
reputation more than my life that my life was nothing. But now my reputa- 
tion is less than my life. Go, marry Dionysia Chandore; and, as the priest 
joins your hands, my husband shall know all! 

JUL. Madness! 

COUNTESS. Aye, madness! Call it what you will. Call it love to you a 
whim a toy to be cast aside and trampled on to me, life, death, despera- 
tion! Madness! Yes, madness that would sacrifice your life, your honor, with 
a smile on my lips, even though my heart should break. 

JUL. Genevieve, we must part it is for the best. 

COUNTESS. Part! I inspire you with horror, do I? You would be free? 
Free! Beware! Beware! 

JUL. Not so loud! 

COUNTESS. What do I care? What does it matter? Happiness awaits you, 
a new life, full of intoxicating hope. It is quite natural that you should dread 
discovery. 1, whose life is ended > and who have nothing to look for I, in 
whom you have killed every hope I am not afraid. 

JUL. [Aside} She is determined. But Jules de Dardeville never was afraid 
of an enemy; not even the Count Clairnot! [Clutching his gun. Aloud} You 
say you love me? 

COUNTESS. Madly! Passionately! 

JUL. Then in the name of that love, I appeal to you to release me. 



6 JAMES A. HERNE 

COUNTESS. To wed another? Never! Never! 

JUL. I I had foreseen this, our acquaintance never would have existed. 

COUNTESS. Acquaintance? You confess then that you have never loved 
me! 

JUL. You know the contrary. 

COUNTESS. Still you think of abandoning me for another for this Dio- 
nysia. 

JUL. You are married. You cannot be mine! 

COUNTESS. [Quickly] Then if I were free 

JUL. Free? You would be my wife. 

COUNTESS. [Aside, taking stage] His wife! If I were free, I would be his 
wife! God! Luckily that thought never occurred to me before. Murder! 

JUL. Calm yourself, Genevieve. This marriage which I mentioned is not 
my doing but that of my family. I have had no hand in it. My father called 
on M. de Chandore and asked him for the hand of his daughter. I have been 
publicly acknowledged as her betrothed and they themselves have fixed the 
wedding day. 

COUNTESS. Is this true? 

JUL. I swear it! 

COUNTESS. You are not deceiving me, Jules? 

JUL, Deceiving you ? Why should I ? I have loved you always I love you 
still. 

COUNTESS. But she Dionysia loves you. That* love which is my disgrace 
is her honor. 

JUL. But my love is, and always shall be, yours. 

COUNTESS. [With joy] Oh, Jules! [Recovering herself] I believe you! I 
must believe you! 

JUL. [Aside] At any price, I must have those letters. 

COUNTESS. Jules, promise me one thing till I of my own free will release 
you, you will never, never marry this Dionysia Chandore. 

JUL. I promise! Where is the Count Clairnot? 

COUNTESS. Confined to his room. He thinks I am sitting up with my child. 
But now to the business that brings you here. You think it best that we de- 
stroy our letters? 

JUL. Yes. We cannot foresee events. The Count may discover them. 

COUNTESS. True! Where are mine? 

JUL. Here they are. [Tafes packet from pocket] 

COUNTESS. And here are yours. [Produces them] 

JUL. [ Quickly] Well burn them I 



WITHIN AN INCH OF HIS LIFE 7 

COUNTESS. [Gives them to him} You see, Jules, I trust you. [Jules goes to 
shrubbery R. lights both packets and then throws them out of sight] 

COUNTESS. [As he comes down} And that is all all that remains of five 
years of our life, of our love, and of our vows ashes! 

JUL. Genevieve, forgive me all this bitterness. I, too, am unhappy un- 
happy as yourself. But remember we are separated by an impassable gulf 
society, family, marriage. In a word, the world stands between our loves. My 
family decides I must marry. Prudence compels it. I must go my way, and 
you yours. But till you of your own free will release me and break the chains 
that bind us I will remain faithful to my promise. Calm yourself. Do not 
grieve me more. Genevieve, promise me. 

COUNTESS. [Turns from him] Spare me! I promise nothing! Go! Go! 
[Crosses L} 

JUL. Good-bye! Let us part friends. [Offers his hand] 

COUNTESS. [Taking it] Good-bye. 

JUL. [Going R. turns and loo\s at Countess for a moment. She stands as 
immovable as a statue} Genevieve! Farewell! [Exits quietly through pri- 
vate entrance R.j. A slight pause. The Countess then suddenly realizes that 
she is alone} 

COUNTESS. [With a cry} His wife! [Rising] If I were free, I would be his 
wife. What terrible thought is darkly hidden in those words! [In a hoarse 
whisper] Murder! Murder! [Exits greatly agitated R.jJE. A fire starts up 
from the place where Jules fired the letters and reaches to the house; and 
spreads till the whole building is in flames. Slight hurry inside. Cries of "fire" 
heard within. Count Clairnot rushes from doors C. and stands on steps} 

COUNT. Fire! Fire! Help! Help! [At the same moment a shot is fired 
from shrubbery of private entrance. NOTE: The gun-barrel must be pushed 
forward enough to let the audience see the discharge f but not who discharges 
it. The Count staggers forward} 

COUNT. I am murdered! Assassin! [He staggers towards shrubbery. Just 
before he reaches it, another shot is fired from the same place. The Count 
reels and falls C.} Help! Murder! Help! [Hurry within. Loud cries of 
"fire" general commotion and conflagration. Servants enter from house, and 
peasantry, citizens, etc., from all directions} 

PIERRE. [Seeing Count} What! The Count murdered! 

OMNES. Murdered? [Enter Countess from R.jJE.] 

COUNTESS. My husband! Murdered! The house in flames! [The screams 
of a child heard in house} 

COUNTESS. My God! My child! Save her! 

OMNES. It is impossible! 



8 JAMES A. HERNE 

COUNTESS. [Sinking on her T^nees] Oh, wretched, wretched Genevieve! 
My child! She is lost! [Suddenly the C. doors which are enveloped in flames 
are burst open and the idiot, Cocoleau, appears half blinded with smo^e and 
fire carrying the child of the Countess] 

Coco. [Coming down] No! No! Ha! Ha! Ha! Saved, saved! [Laughs 
idiotically. House falls with a crash] 

ACT II. 

SCENE: Chamber in the house of M. Seneschal, the mayor of Valpinson. 
Time: Night. Large C. doors. Doors R. and L.2.E. Count Clairnot on sofa 
RH. Doctor Seignebos standing near table, arranging bandages, etc. Countess 
at foot of sofa kneeling. Mechinet standing at table with writing materials 
down L. Galpin at rear C. Two Gendarmes at C. doors. Gendarmes at door 
R. and L. 

COUNT. [With effort] My friends, you see the year 1871 is a fatal year. It 
has left me nothing but a handful of ashes. 

SEN. Thank Heaven, you are safe. 

COUNT. Who knows? I am suffering terribly! 

COUNTESS. Courage, husband, courage! 

COUNT. Pardon me, dear Genevieve, pardon me, if I show any want of 
fortitude. 

DR. S. [Addressing Omnes] You see, gentlemen, he's in a bad plight! 
Wounds of this kind, although apparently not of a serious nature at first, 
often prove fatal. 

GAL. [Coming forward, to Doctor] Therefore, Doctor, I am here. A crime 
has been committed. The criminal must be tracked, discovered, convicted, 
and punished! [With great authority] Therefore, I request your assistance 
and the assistance of those around me, in the name of the Law! [Turning to 
Doctor] Have you any objection to my questioning your patient? 

DR. S. It would certainly be better for him to be left alone. I have made 
him suffer quite enough already. But if it must be 

GAL. It must be. 

DR. S. Well, then, make haste. 

GAL. [Ta^es seat, beside the Count, at sofa] Are you strong enough to 
answer my questions? 

COUNT. Yes, yes, quite. 

GAL. Then tell me all you know of the events of last night. 



WITHIN AN INCH OF HIS LIFE 9 

COUNT. I know but little. Shortly after the bell had struck eleven, a bright 
blaze flashed upon my window. Amazed, yet half-asleep, I was quickly 
aroused by the crash of something falling and the cry of "Fire." I rushed 
down stairs, but had hardly made a step, when I felt a fierce pain in my right 
side and heard a shot. I remembered I had that very evening left my gun in 
the shrubbery on the right of the steps. I endeavored, as best I could, to reach 
it and defend myself from the assassin, when directly from the shrubbery the 
assassin fired again, and after that all is blank. 

GAL. [Interestedly] You did not see the assassin then? 

COUNT. [Shades his head] No. 

GAL. Who can tell us what happened after you fell? 

COUNT. Probably my wife, the Countess. 

GAL. True! The Countess, no doubt, got up when you rose. 

COUNT. My wife had not gone to bed. [Galpin turns quickly to Countess, 
who avoids his glance] Bertha, our little child, has been very ill. My wife was 
sitting up with her. 

GAL. [Suspiciously] Exactly. [To Countess] When, and how did you be- 
come aware of the situation ? 

COUNTESS. My husband has told you I was sitting up with little Bertha. I 
was tired, for I had not gone to bed the night before, and had fallen into a 
doze when a sudden noise and light aroused me. Just then I heard a shot, 
quickly followed by another, and then cries for help! I hurried down in great 
haste. The front door was open and by the light of the flames I beheld my 
husband lying on the ground! Remembering my child, I beseeched the people 
to save it, but none would dare to venture, for the flames had enveloped 
everything. Then Cocoleau rushed from amidst the burning mass, bearing 
my child from the very jaws of death! 

COUNT. Brave fellow! 

GAL. Cocoleau and who is Cocoleau? 

DR. S. An idiot! An imbecile! 

COUNTESS. This fire will probably ruin us! But what matters that so long 
as my husband and my child are safe! 

DR. S. [Rising] Now sir, I hope you'll let me have my patient again. 

GAL. Sir, I appreciate your duties, but mine are no less important. 

DR.S. [Sitting down] Fudge! 

GAL, Consequendy, you will be pleased, sir, to grant me five minutes 
more. 

DR. S. Ten, if it must be, sir. Only, I warn you that every minute hence- 
forth may endanger the life of my patient. 



io JAMES A. HERNE 

GAL. I have only one more question to ask. [To Count] Where were you 
standing, and where do you think the murderer was standing, at the moment 
when the crime was committed? 

COUNT. I was standing, as I told you, on the threshold of my door facing 
the courtyard. The murderer must have been standing some twenty yards off, 
on my right, behind a pile of wood. 

GAL. [Turning to Doctor] You heard what he said, sir. It is for you now 
to aid justice by telling us at what distance the murderer must have been 
when he fired. 

DR. S. I don't pretend to solve riddles. 

GAL. Oh, have a care, sir! Justice, whom I here represent, has the right 
and the means to enforce respect. You are a physician, sir, and your medical 
science enables you to answer this question with almost mathematical ac- 
curacy. 

DR. S. [Aside] Mathematical fiddlesticks! 

GAL. What distance was the assassin from the Count when he fired? 

DR. S. A conundrum! I give it up! 

GAL. Have a care, sir! I can enforce the law. 

DR. S. Then to answer you plainly, sir, it all depends upon the species of 
weapon used; whether it be a cannon, a gun, or a pistol. [Sitting down} 

GAL. [Enraged] Remember, sir, that 

OMNES. [Outside] Death to the incendiary! Death to the assassin! [Enter 
Pierre C. L.] 

PIERRE. [Hurriedly] A citizen and one of the firemen have been missing 
since the fall of the north wall. We have just discovered their remains among 
the ruins. 

COUNT. Great Heavens! And I was complaining of my losses! Two men 
killed! Murdered! Poor men! Their bravery has cost them dear! 

OMNES. [Outside] Death to the incendiary! Death to the assassin! 

GAL. [To Gendarmes at C. D.] Admit the people. [Gendarmes open 
doors C* Enter Peasants] 

OMNES. Death to the incendiary! Death to the assassin! 

GAL. [To Peasants] You are right, good people! But we must first dis- 
cover the criminal. Some one among you probably knows something. [Pierre 
exits quickly C. Noise off C. Enter Pierre and a Peasant pushing Cocoleau in 
front of them. Cocoleau slightly resists] 

PIERRE. [Pushing Cocoleau forward} He knows something! 

PEASANTS. Make him tell! Make him tell! [Cocoleau stares around half- 
frightened, then suddenly starts to go off door C. Pierre, with Peasants, stops 
Cocoleau and pushes him down C. again] 



WITHIN AN INCH OF HIS LIFE 11 

GAL. [To Pierre] Who is this, my good fellow? 

PIERRE. Cocoleau. 

GAL. Oh! So this is Cocoleau? 

PIERRE. He knows something. He said so himself. 

PEASANTS. Make him tell! Make him tell! 

GAL. Aha! That is what we want. [To Cocoleau] Cocoleau? 

Coco. [Glances from one person to another idiotically t then loo^s at 
Galpin] Eh? 

DR.S. Stay, sir. You don't really mean to examine this fellow as a 
witness? 

GAL. And why not? 

DR. S. Because he cannot possibly understand your questions. He's a fool! 
An ass! And an ass is a fool; and a fool is a natural born ass! 

GAL. [Decidedly] I know my duty, sir! 

DR.S. [Pompously} And I know my duty, sir! Consider, sir, if this fellow 
should make a formal charge against any one! [Cocoleau loo^s frightened at 
Dr. Seignebos} 

COUNT. At all events it was he who saved our child. Come nearer, Coco- 
leau. [Cocoleau first hesitates, then finally steps nearer Count] Come nearer. 
No one here would harm you. See, here is the Countess. She has been very 
kind to you. 

Coco. [Loo%s at Countess tenderly} Good dear dear lady! 

GAL. Madam, request him to speak. He knows something. [Countess 
starts} 

GAL. He seems attached to you and perhaps, if you will ask him, will tell 
us 

COUNTESS. [Recovering herself] Cocoleau, do not be afraid. Tell us what 
you know. 

Coco. [Reassured, stutters} I am not afraid. 

DR.S. [Rising} Once more, I protest! 

GAL. [To Dr. Seignebos] Sit down, sir! 

DR.S. Fudge! [Ta\es seat] 

COUNT. [To Galpin] It may be dangerous to question an irresponsible 
party. 

GAL. [Decidedly] Gentlemen, I must beg to proceed in my own way. 
You will be silent. [To Cocoleau] Cocoleau, my boy, listen, and try to un- 
derstand what I am going to say. [Cocoleau nods head and looJ^s stupidly} 

GAL. There has been a fire 

Coco. [Knowingly} Fire! 



12 JAMES A. HERNE 

GAL. Yes, fire which has burned down the house of your benefactor 
fire which has killed two good men. 

Coco. [Repeats] Killed two men. 

GAL. But that is not all! They have tried to murder! Do you see him 
there in his bed, wounded and covered with blood? [Cocoleau turns his face 
slowly to Count] 

GAL. Do you see the Countess, how she suffers ? 

Coco, [Turning and looking at Countess with a hol^ of pity and love] 
Yes. 

GAL. All these misfortunes are the work of a wicked man, a vile assassin! 
You hate him, don't you? You hate him? 

Coco. [Savagely, through his teeth] Ye yes! 

GAL. You want him to be punished? 

Coco. Yes! Yes! 

GAL. Well then, you must help us to find him out so that the Gendarmes 
may catch him and put him in jail. [Cocoleau hangs down his head, then 
glances from under his shaggy hair and looJ(S furtively around the room, 
finally resting his eyes on the Countess] 

GAL. Do you hear me, my good boy? 

Coco. Ye yes! 

GAL. And you will speak? [Cocoleau slowly eyeing Countess, nods his 
head} 

GAL. [With satisfaction] Good! Then where did you spend last night? 

Coco. [Repeats the question^ then answers} In the courtyard. 

GAL, Were you asleep when the fire broke out? 

Coco. [Quickly] No! 

GAL. Did you see it commence? 

Coco. [Long pause. He things, then answers suddenly} Yes! 

GAL. How did it commence? [Cocoleau shades his head; won't answer. 
Loo%s towards Countess with the timid expression of a dog who tries to read 
something in his master's eyes} 

COUNTESS. Yes, Cocoleau, tell us how it commenced. 

Coco. [With a flash of intelligence} They they set it afire! 

GAL. On purpose? 

Coco. Yes! 

GAL. Who? 

Coco. A gentleman. 

DR. S. [Rising} I protest! Such an examination is sheer folly! 

GAL. [Loudly to Dr. Seignebos} Sit down, sir! 

DR.S. [Sitting} Fudge! 



WITHIN AN INCH OF HIS LIFE 13 

GAL. Did you see the gentleman? 

Coco. Yes! 

GAL. Do you know who he is? 

Coco. Very very well! 

GAL. What is his name? [General interest manifested] 

Coco. [Slight pause} Jules Jules de de Dardeville! 

COUNT. Absurd! 

DR.S. [Keeping seat, triumphantly] There! I told you so! 

SENE. [To Galpin] I I were you, I'd attach no importance to the answer 
and consider it not given. 

GAL. No. I shall proceed. 

DR.S. [Rising] Proceed to what, sir? To array this idiot against your 
friend, Jules de Dardeville? Why the thing is ridiculous! You know that such 
a crime in him is actually impossible! And yet, without any evidence except 
the ravings of this idiot, you would publicly disgrace the man whom you 
pretend to be your friend, and whom you have dined with a hundred times, 
and who is universally respected by us all! 

GAL. [Sternly] Nevertheless, gentlemen, I know my duty and shall pro- 
ceed. [To Cocoleau] Do you know, my boy, what you say? Do you know 
that you are accusing a man of a horrible crime? 

Coco. I I am telling the truth. 

GAL. Jules de Dardeville set Valpinson on fire? 

Coco. [With conviction] Yes. 

GAL. How did he do it? [Cocoleau pauses] 

GAL. Speak! 

Coco. [With countless contortions and painful efforts to spea\ commences] 
I saw Jules de Dardeville pull out some papers from his pocket light 
them put them in in shrubbery near chateau! 

COUNTESS. [Aside f with a cry] Oh! 

[NOTE: The actor playing the part of Cocoleau should study the business of 
Jules in Act I and go through same business here] 

GAL. [To Cocoleau] Now, good Cocoleau, since you have told us that 
Jules de Dardeville set the chateau on fire, tell us who fired upon the Count. 

Coco. Who fired? [Loof^s around f eyes the Countess f smiles with assur- 
ance] Why Jules de Dardeville after he set the house on fire. Mas- 
ter came out at the door and he fired from the trees. Master 
fell! [Laughs idiotically] Ha! Ha! I saw it all! I saw it all! Yes! Ha! Ha! 

GAL. If you saw it all, why didn't you seize the assassin? 

Coco. [Shades his head] Ha! Ha! Might get shot myself! Yes! Ha! Ha! 
Might get shot myself! 



i 4 JAMES A. HERNE 

GAL. Since you saw it was Jules de Dardeville, tell us how he was 

dressed. 

Coco. [Loo\s at his own clothes, laughs] Straw hat short jacketboots 
up here [Motioning] and gun. 

DR. S. This is monstrous! To listen to the ravings of an idiot! 

COUNT. Yes, I think myself, it's somewhat ridiculous to allow an honest 
man to be arraigned by this Cocoleau, who can scarcely remember from 
one hour to the other. Jules de Dardeville and myself had once a landsuit 
that culminated in a deadly quarrel. Still he is an honorable man and, al- 
though we once came near exchanging shots, I would as soon vouch for his 
honor as my own. 

GAL. [To Cocoleau] Enough. [Motions Cocoleau away. Cocoleau draws 
bac\ and laughs jneaninglessly , looting at Countess} 

DR. S. [To Galpin] What are you going to do? 

GAL. I am going to prosecute. [Noise outside center] What is that? [Enter 
Ribot and Gaudry C] 

RIB. [To Galpin , enquiringly] The magistrate? 

GAL. Yes. Can you throw any light upon this affair? 

RIB. Yes. There was something suspicious happened to me last night. 

GAL. [To Mechinet] Mechinet, here is another statement. [To Ribot] 
Well, sir, proceed. 

RIB. Last night I was going through the forest of Rochpommier and, 
as I came near Valpinson, just as the bell struck eleven, I met a man hurry- 
ing along and acting as though he didn't want anyone to know much about 
him. He said he was going to Brechy, but when I told him he wasn't on the 
Brechy road, he looked confused and said he meant Seille. And I knew he 
lied, for if he was going to Seille he'd have taken the cross-roads 

GAL. Did you notice his dress? 

RIB. Yes. He wore a straw hat, hunting jacket, and over-boots. He had a 
gun in his hand. 

GAL. [Interestedly] Indeed! Could you swear to this? 

RIB. Yes. 

GAL. Did you recognize him as anyone you had seen before? 

RIB. Yes Jules de Dardeville. [General movement] 

GAL. Jules de Dardeville! [With satisfaction, to Mechinet] Mechinet, have 
you taken down this witness's statement carefully? 

MECH. Yes. 

GAL. [To Ribot] That will do. [Ribot bows and draws bact(\ 

GAL. Now then, the next witness. [Gaudry comes down] Now then, my 
man, tell us what you know. 



WITHIN AN INCH OF HIS LIFE 15 

GAU. Last night I was in the forest of Rochpommier 

GAL. [Interrupting} Ah! You rascal! What were you doing there? 

GAU. That's where I sleep, sir, on the leaves among the brushwood, for 
the sake of the fresh air. 

GAL. Why do you sleep there? 

GAU. So as to get up in the morning early. I pick chestnuts, sir, for the 
market. 

GAL. Yes, I see. Go on. 

GAU. Well, sir, I heard a noise, sir, and looking around, I saw a man 
coming along with a gun, talking to himself excited like, and going towards 
Valpinson. Shortly afterwards, I sees a blaze there and who should come 
back but the same man, going on just as before, only hurrying more and 
never looking back, but walking faster than a man could run. 

GAL. You recognized him both times ? 

GAU. Yes. 

GAL. Are you sure? 

GAU. I would stake my life. 

GAL. Then state in the presence of all, his name. 

GAU. Jules de Dardeville. 

GAL. Enough. Is there anyone else who knows anything. {Pause} None. 
Then we shall close the examination. You see, gentlemen, I was right. What, 
at first, was merely a doubt, gathered into a suspicion and then, at last facts. 
Cold, stern facts, promising actual proof, point in the direction of Jules de 
Dardeville! [Noise off C. Enter Jacques]^ 

JAC. We have just discovered something, sir. [Showing cartridge to Gal- 
pin] 

GAL. [Taking cartridge from Jacques] Why it is a cartridge! Where did 
you find this? 

JAC. We found it near the shrubbery where the assassin concealed him- 
self. He, no doubt, dropped it there last night. 

COUNT. [To Galpin] Let me see it. [Galpin gives cartridge to Count] 
I can tell, at least, if tie weapon used against me was my own, or that of 
another. [Examines it] No such cartridge as this belonged to me. [Hands 
cartridge to Galpin} 

SENE. That cartridge was evidently the property of the assassin. He 
dropped it providentially as an evidence of his guilt. The weapon Jules de 
Dardeville used was the Remington and the only one of that make in the 
district. Examine the cartridge. If it is not a Remington it proves his inno- 
cence. 

1 There is no character given in the cast as "Jacques." 



Z 6 JAMES A. HERNE 

GAL. [Examines cartridge. Starts triumphantly. To Seneschal] There! 
Read for yourself! [Hands cartridge to Seneschal] 

SENE. [Examines cartridge. Starts] Heavens! It is so! He is guilty! 

DR.S. Guilty? Impossible! What would be his motive for such a crime? 
M. Jules de Dardeville has nothing to lose. Do you know among all your 
friends a happier man than he is? Young, handsome, rich, esteemed! Be- 
sides there is another fact which will at once remove all suspicion. M. Jules 
de Dardeville is desperately in love with the beautiful Dionysia Chandore. 

COUNTESS. [Aside, starting] In love with Dionysia Chandore? 

DR.S. And she returns his love. [Countess clutches her hands] 

DR. S. And tomorrow is the day fixed for his marriage. He told me so 
himself last night. 

COUNTESS. [Aside, unable to control herself] Wretch! He has lied to me! 

EfR.S. Gentlemen, I tell you it is impossible! 

COUNTESS. [Rising quickly, full of hate and anger] Impossible? And why 
impossible? Did he not hate my husband? Has he not in a quarrel threat- 
ened his life? Does not a chain of indisputable evidence wind itself, link 
by link, around him? You think it nothing if he had robbed me of my hus- 
band, yet you melt at the thoughts of tearing him from his beautiful Dio- 
nysia Chandore! Yes, I believe him guilty! May Heaven bring down on his 
head the misery he has inflicted on mine! 

GAL. 2 Calm yourself, madam! Calm yourself! Justice shall be done! 

ACT III. 

SCENE: The prison at Sauveterre, overlooking courtyard. Large grated win- 
dow C. with balcony exterior. Door L.jJE. with steps to stage. Balcony runs 
from door to window, exterior C, Jules seated at table LJH. Noise of unlocf^- 
ing door. [Enter Blangin] 

BLAN. Prisoner! 

JUL. [Raising his head] Well? 

BLAN. The magistrate. [Admits Galpin, Seneschal and Mechinet] 

JUL. [Approaching and offering his hand to Seneschal] Ah! My old 
friend! [Seneschal tal(es Jules' hand and shades it heartily] And you, too, 
Galpin! [Offering his hand] 

GAL. [Sternly refusing hand] Wait, sir. 

JUL. What? You do not know me? I do not understand all this! Prob- 
ably you can explain. As for myself, I know nothing! Not even the cause 

2 This speech is crossed out in the manuscript and was evidently not used in the acting version. 



WITHIN AN INCH OF HIS LIFE 17 

of my arrest thanks to the gendarmes who brought me so quietly here. 
Not a word could I get from them, only that I should know all soon enough. 
Perhaps you have come to enlighten me? 

GAL. I have. Jules de Dardeville, a terrible charge has been brought 
against you! Unfortunately, I am a magistrate, sir. It is on your answers to 
my questions that your honor, your liberty, perhaps your very life, depend. 

JUL. [Surprised] My life? 

GAL. Yes, sir your life. First, you are charged with setting fire to the 
Chateau of Valpinson. 

JUL. What! I? Come, come, Galpin! You know me better than that! 

SENE. [Aside, to Galpin] That man is certainly innocent. [Aloud] But 
not only are you charged with setting fire to the chateau, but also with 
murder! 

JUL. [Intensely surprised] Murder ? 

GAL. Yes, murder. 

JUL. And you, my old friend, Galpin, are my prosecutor? Impossible! 

GAL. We shall have to forget our relations, sir. It is not as a friend I have 
come to see you, but as a magistrate. 

JUL. If anyone, in my presence, had dared to accuse you of a crime, I 
should have defended you till absolutely undeniable evidence had proved 
your guilt, and even then I should have pitied you. But you! I am accused 
falsely, wrongfully and you, my friend, not only believe the charge, but 
hasten to become my judge! Well, Galpin, I know you now. 

GAL. [Motions Mechinet to table] Enough, sir! You forget our present 
positions. 

JUL. I shall forget them no longer. Proceed. I am at your service. [Mechinet 
goes to table L. r ta\es seat, places writing materials on table, and proceeds 
to ta\e down the examination] 

GAL. You were out last night? 

JUL. Yes. 

GAL. You took your gun a Remington? 

JUL. I did. 

GAL. The only Remington in this district? 

JUL. I believe so. I ordered it directly from the maker. 

GAL. So you must have been on the spot where such a cartridge as this 
was found? 

JUL. \TaJ(es cartridge and examines it] Not of necessity. [Aside] Heav- 
ens! It is mine! How did it come there? Ah! I must have dropped it in tak- 
ing the letters from my pocket. [Handing bac\ the cartridge] Yes, it is a 
Remington. I cannot explain it. 



i8 JAMES A. HERNE 

GAL. You cannot? Now then, I beg you will give us an account o how 
you spent last night, between eight and eleven o'clock. [Pause. Jules becomes 
greatly agitated, but quickly recovers himself} Consider! Take your time and 
answer frankly, for remember, your life depends upon the question. 

JUL. How do I know? I walked about. 

GAL. That is no answer. You went through the forest of Rochpommier? 

JUL. No, I did not. 

GAL. Jules de Dardeville, you are not telling the truth. 

JUL. Sir! 

GAL. Do not attempt to deny it. Two witnesses will swear to what I say. 

JUL. Two witnesses ? 

GAL. Yes. You told one of them you were going to Brechy, then cor- 
rected yourself and said to Seille. Jules de Dardeville, you went neither to 
Brechy or to Seille. You went to Valpinson. Last night, between eleven and 
twelve, Valpinson was burned to the ground! 

JUL. Ah! 

GAL. A private individual and a fireman perished in the flames; the 
Count Clairnot was shot by an assassin; and strong reasons point to you, 
Jules de Dardeville, as the incendiary and murderer! 

JUL. Horrible! 

GAL. You are charged with these crimes. It is for you to exculpate your- 
self. 

JUL. [In despair] How can I ? How can I ? 

GAL. Humph! If you are innocent, nothing is easier. Tell us where you 
were between eight and twelve o'clock last night. 

JUL. [Firmly] I've told you all I can. 

GAL. Then I must commit you for trial. 

JUL. As you please. 

GAL. Then you confess? 

JUL. What? 

GAL. That you are guilty? 

JUL. No! I am innocent! 

GAL. Prove it. 

JUL. [Turning away] I can prove nothing. 

GAL. [Aside] The greatest criminal case in the calendar! I'm sure of pro- 
motion! My fortune's made! On the other hand, if I should fail, his powerful 
and wealthy friends would ruin me. But nothing can save him! He will 
have to go to the guillotine, or to the galleys. [Goes up] 

JUL. [To Galpin] A word before you go. Do you believe me guilty? 



WITHIN AN INCH OF HIS LIFE 19 

GAL. [Coldly] That is not for me to say. You have refused to answer my 
questions. I am but the representative of the law. [Exits through door} 

JUL. And you, good Seneschal? [Taking his hand] 

SENE. No! Never! Courage! Courage, my boy! In spite of appearances, 
I am still your friend. [Exit Mechinet and Seneschal through door] 

JUL. [Sinking into seat at table} There is one, at least, who believes me 
innocent. [Enter Blangin] 

BLAN. Prisoner, a lady to see you. 

JUL. A lady? Who? [Enter Dionysia] Dionysia! 

DION. Jules! [They embrace. Exit Blangin and loc\s door] 

JUL. You here! You here? You have come to see Jules de Dardeville, even 
in a felon's cell? 

DION. Why should I hesitate? Your honor is at stake, and your honor 
is my honor, as your life is my life! 

JUL. And do you look upon me as the guilty wretch that some would 
deem me? 

DION. No, Jules! By the sacred memory of my mother, I assure you that 
I have never doubted your innocence, even for a moment! 

JUL. [Embraces her} Dear, dear Dionysia! 

DION. They say that you will only have to prove that you were elsewhere 
at the time and all will be well. 

JUL. Alas, I cannot! 

DION. You cannot? 

JUL. No, Dionysia, it is impossible! 

DION. Ah, Jules, I am sure you could if you would. You are not aware of 
the danger you run, you do not know 

JUL. Yes, Dionysia, I know! I know that the guillotine or the galleys 
are at the end, and yet I must keep silent. 

DION. You have not considered 

JUL. Considered? What do you think I have been doing all these dreadful 
hours since my arrest? 

DION. Then why do you not speak? I, your Dionysia, your betrothed, 
beseech you Jules de Dardeville, speak! 

JUL. I dare not! 

DION. Why not? 

JUL. Because it would not establish my innocence if I did. 

DION. My God! What do you say? 

JUL. I say that there are circumstances which upset our reason unheard 
of circumstances which makes one even doubt one's very self. Everything 



20 JAMES A. HERNE 

accuses me, everything overwhelms me! I am neither a child, nor a coward, 
but I have measured the danger and I know it is fearful! 

DION. And cannot you even confide it to meyour betrothed your 
Dionysia? 

JUL. To you less than to anyone else! Your mind is too pure. I would not 
have it stained by the slime into which fate has thrown me! [Steps bac\ 
from her. Then with uplifted hands} Oh, Dionysia, leave me! Leave me! 
You do not know me! 

DION. [Springing towards him, terrified] I do not know you? What do 
you mean? 

JUL. Nothing! Nothing! Do not ask me! 

DION. Why? Have I not the right? Am I not your betrothed? Have you 
not said you loved me, and have I not accepted your love? 

JUL. Yes yes! 

DION. And when I have thus willingly placed my life in your care, have 
I not proved my trust? 

JUL. You have you have! 

DION. Then why can you not place an equal confidence in me? 

JUL. Oh, Dionysia! 

DION. Why, standing here today, innocent, yet charged with crime, do 
you not dare speak? Not even to me? Do you think I am a child, from 
whom the truth must be concealed? Am I in your eyes of such a trivial na- 
ture as not to comprehend the importance of a secret that seals your lips and 
holds your life in jeopardy? Jules, Jules, you have no faith in me! You do not 
really love me! [Sinking at his feet] 

JUL. [Raising her] If you knew what seals my lips, it would make you 
wretched! I have given you pain enough! I would not make your young 
life more unhappy! Were I to speak, it would make you hate me! 

DION. What could you have done to make me hate you? 

JUL. Do not ask me! 

DION. Is it then such a secret? 

JUL. Yes! And should you know it, I should lose the last prop of my 
strength and courage, Dionysia my love! [Embraces her. Enter Blangin] 

BLAN. Madam, your time's up. Prisoner, your counsel, M. Folgat and M. 
Magloire, awaits you. [Exit. Jules gazes into Dionysia' s face and smiles 
sadly] 

DION. You smile, Jules. You must have hope. 

JUL. Yes, we all have hope! A crime has been committed, lives lost, Val- 
pinson laid in ashes, the Count Clairnot fired upon! I am innocent! I swear 



WITHIN AN INCH OF HIS LIFE 21 

it! I know the assassin! The world bids me speak and yet, to speak would 
but proclaim me an accomplice and lead me to the guillotine! 

DION. No, no! It must not shall not be! 

JUL. But how? 

DION. [Looting around. Then in a whisper] You must escape! 

JUL. Escape! 

DION. Yes. Nothing easier! We have gold and can bribe your jailors. 
They will open the doors for you. In four hours you can reach Rochelle. 
Then a pilot boat will take you to England. Once there you are free! Jules 
de Dardeville, you are free! 

JUL. And abandon you? 

DION. No! I will follow you! 

JUL. You would follow me? 

DION. Yes! Do you think me base enough to abandon you, when all the 
world betrays you? No! We will meet in England. There we will change our 
name go to some distant country. Once there, we shall be happy, happy! 

JUL. [Overcome] Dionysia! 

DION. [Quickly} Let us fix the day. 

JUL. The day? 

DION. Yes. The day for our flight. 

JUL. The dream is too beautiful! [After a pause] No, Dionysia! No, I 
must not escape! 

DION. You refuse me then, when I will join you and share your exile? Do 
you doubt my word ? How can I bend you ? What must I say ? For my sake, 
if not for your own, let us fly! You escape disgrace! You secure liberty! Can 
nothing move you? What do you want? Must I throw myself at your feet? 

JUL. I am innocent! To escape would be to confess that I am guilty! 

DION. [Clasping her hands over head, exclaims hopelessly] I can say no 
more! I can say no more! [Going up slowly, sobbing] 

JUL. [Looking tearfully towards her f exclaims hysterically] Dionysia! 
[They embrace. He pisses her, then disengages her, and goes slowly towards 
seat near table] 

DION. [Goes slowly up to door, stops, loo^s towards Jules] Good-bye! 
Good-bye! [Exits] 

JUL. [Sinking in seat] Good-bye! [Then starting up] No, no! To escape 
would be easy, but what then? To be a refugee trembling, day and night, 
lest a confessed murderer and incendiary should be detected! No, no! My 
dungeon walls would be a Heaven to such a life as that! Here I can sleep in 
quiet consciousness that I am innocent. Yes! I'll meet my fate and defend my 
honor to the last! [Enter Blangin] 



22 JAMES A. HERNE 

BLAN. Prisoner, your counsel. [Enter Folgat and Magloire. Jules receives 
them. Aside, down right] A wonderful little woman, that Miss Dionysia! 
When I says here are the lawyers, ma'am, coming to hear what he has to say, 
says she to me, slipping me a whole napoleon, says she, "Let me hear what he 
says to the lawyers and I make it a hundred." [Scratching his head] Blangin, 
there's money in this case for you! [Goes up and exits} 

FOL. Why, Jules, my boy, what a change has come over you! 

MAG. Never fear, it will be all right. The commitment has not been made 
out. An alibi will free you tomorrow. 

JUL. An alibi? That, my friends, I cannot prove. [Dionysia appears at 
window-bars] 

FOL. and MAG. What ? 

JUL. An alibi, I cannot prove. For I was there. 

FOL. and MAG. You were there ? 

JUL. Yes. Though, nevertheless, I am innocent. 

FOL. Yet the world, even the Countess, believes you guilty. 

JUL. [Surprised] The Countess Clairnot? 

FOL. Yes, the Countess Clairnot! She has publicly and positively de- 
nounced you as the incendiary and assassin and demands justice! 

JUL. [Aside] Traitress! 

MAG. How do you explain it? 

JUL. In a word I was the lover of the Countess Clairnot! 

DION. [Aside] Lover of the Countess Clairnot! 

MAG. That is improbable! 

FOL. Absurd! 

JUL. Yes, but nevertheless the truth! 

MAG. Are there any proofs of the fact ? 

JUL. None. We destroyed the letters a few moments before the fire. 

FOL. Then you were at Valpinson a few minutes previous to the fire? 

JUL. Yes. 

FOL. If so, you probably may have heard or seen something to raise a sus- 
picion in your mind as to who really was the incendiary? 

JUL. I did. 

FOL. Who? 

JUL. The Countess Clairnot. 

DION. [Starts] Ah! 

FOL. and MAG. The Countess? 

JUL. Yes. Her unjust accusation compels me to the confession. Had she 
never denounced me, knowing me to be innocent, I would have remained 
silent forever. 



WITHIN AN INCH OF HIS LIFE 23 

MAG. Speak! Who fired upon the Count? 

JUL. Herself. [General movement] 

MAG. But her object? 

FOL. Yes, what could have been her object? 

JUL. [Bitterly} To get rid of her husband, so that she could be free to 
claim her lover. 

FOL. Did you see her in the act? 

JUL. Is it likely that I would be accessory to such an act? 

FOL. No! And yet you confess to having been a partner in the cause that 
impelled her to the crime this secret and criminal alliance between herself 
and you. State to us the facts of the interview. 

JUL. We had met at Valpinson, for the purpose of destroying our cor- 
respondence. She was very angry. I gave as a reason for my action that she 
was married and could never be mine. She asked me excitedly if I would have 
married her, had she been free. And to appease her, I weakly answered yes. 
Then she exclaimed "Oh, God! Luckily that thought never entered my brain 
before! Murder!" We parted. Shortly afterwards I heard a couple of shots. I 
thought it was poachers in the forest of Rochpommier and, looking back, be- 
held a conflagration. I thought it was the cathedral then, the village. I hur- 
ried home, was arrested today, and charged with the crime! 

MAG. To expose this assignation at Valpinson would avail you nothing. 

FOL. No! It would, on the contrary, prove a motive for the crime, and be 
a confession that you were her accomplice. 

MAG. Better keep the secret. 

FOL. It is plain, that unless she confesses her entire guilt and, at the same 
time, avows your innocence Jules de Dardeville, there is no escape for you! 

JUL. That she will never do! 

DION. [Aside} But she shall! And to me and to me! [Disappears from 
window} 

MAG. [To Folgat} Why not one of us visit her and question her? 

FOL. Right! I, or Magloire, shall go tomorrow and, if we do not succeed 

JUL. Then I will go myself! 

FOL. But how? 

JUL. How? I have a fortune! What is that to life, liberty and honor? Gold 
shall purchase me the freedom of a night. And, if she has concluded to sacri- 
fice me for her crime, in the presence of her husband, I will brand her with 
infamy! 

FOL. Jules, my boy, this is terrible! 

JUL. It is indeed! But I place my trust in Providence! Tell me my father 
my mother do they believe me guilty? 



24 JAMES A. HERNE 

FOL. No. They still have faith in a de Dardeville and, should all the world 
abandon you, believe you innocent. 

DION. [Appears at door] And so would I! 

JUL. [Surprised] Dionysia! Still here? 

DION. Yes! I could not rest, knowing that you kept a secret so terrible in 
its character as to close your lips even to me. I listened there at the bars and, 
now that I know all have heard all I have come to forgive you. For I be- 
lieve you innocent and, more than ever, I love you still! [They embrace] 

ACT IV. 

SCENE: Chamber salon in the chateau of Count Clairnot. Doors R. and L.J.E. 
Large C. windows overlooking garden. Windows curtained. Large massive 
fireplace L.2E. with fire. The whole appearance of the room elegant and mas- 
sive. Large armchair L. Sofa R. Other articles of furniture around the room. 
Cottette discovered arranging furniture, etc. 

COL. [Coming C.] Oh, how dreadful! How terrible! The Count Clairnot 
given up by the doctor and little Bertha dying! Yet madame, herself, goes 
about attending to everything just as calm, as cool and as kind as an angel! 
Ah, what a wonderful woman! [Enter Dr. Seignebos L.$JE. f coming down, 
unobserved by Collette and slapping her on the bacJ(\ 

DR. S. Well, I'm going. 

COL. [With a startled scream] How you frightened me! 

DR. S. I say I'm going. 

COL. Any one can tell that. 

DR.S. Fudge! 

COL. Indeed they can! Whether you are going or coming, you do every- 
thing with such a fuss and such a bounce that, really, I sometimes think it's 
an earthquake. 

DR. S. What a girl what a girl! 

COL. How has the Count slept ? 

DR. S. Hasn't slept a wink. And as for poor little Bertha, she's wasted to 
a skeleton! I don't think she'll last much longer. 

COL. And to think of all these dreadful things happening at once! 

DR. S. Fate! [Shading his head] But bad bad! I've done all I can for 
them. There is no hope, Collette, no hope! [Abruptly} The Countess how 
does she bear up ? 

COL. Ah, poor madame, she watches like an angel! She never leaves them. 
I don't think she has touched food, or closed her eyes, since the fire. 



WITHIN AN INCH OF HIS LIFE 25 

DR.S. [Moved} Poor Countess poor Countess! I pity her! Pity her! 
[Suddenly] Well, I'm going. [Slaps his hands, then slaps Collette on the 
shoulder} Good-night. [Exits quickly R.jJE.] 

COL. Bless me! He nearly broke my back! [She turns down the gas. The 
moonlight falls through windows and illuminates the room] 1 never saw such 
a man comes and goes like a whirlpool whirlwind I mean. [Going to- 
wards door R.jE. Jules suddenly appears at door. Collette starts bacJ^ and 
screams slightly] 

JUL. Silence! Is the Countess Clairnot in? 

COL. The Countess cannot see anyone. 

JUL. Cannot? Where is she? [Coming down] 

COL. She's with her husband and her child. They are both very ill. 

JUL. I must see her. 

COL. Impossible! 

JUL. Tell her that a gentleman who has been sent by Galpin, the prosecu- 
tor of Jules de Dardeville, desires to see her for a moment. 

COL. Sent by Galpin, the prosecutor of the assassin! Certainly. Take a seat 
[Points to sofa] if you please, sir and I'll tell her immediately. [Exits R.jJE.] 

JUL. Ah, Countess Clairnot, we did not part forever! Fate brings us face 
to face once more! [Places himself behind curtain C. Enter Countess Clair- 
not, hurriedly, L.jJE.] 

COUNTESS. A gentleman from M. Galpin to see me! Who can it be? 
[Looking around] I see no one. [Jules steps from behind curtains] 

JUL. At last! 

COUNTESS. [Frightened] Ah! [Recognizing him] Jules de Dardeville! 
[She starts to door L. Jules quickly closes it and places himself before it] 

JUL. Stay, madam! Do not attempt to escape me. For if you do, I will pur- 
sue you to the very bedside of your husband! 

COUNTESS. You you, here! [Leans against armchair L] 

JUL. Yes, I am here. You are astonished, are you? You thought I was in 
prison, safe under lock and key. You said to yourself "No evidence can be 
found. Jules dare not speak. I have committed the crime. He will be pun- 
ished for it! I am guilty, but I shall escape! He is innocent yet he shall be 
sacrificed!" Is it not so? Speak! Is it not so? 

COUNTESS. [Alarmed] I do not understand 

JUL. How I am here? Well, gold has purchased me the freedom of an 
hour. And I have come to brand you with the crime for which you would 
send me to the galleys. 

COUNTESS. This is monstrous! 

JUL. Aye! Monstrous, indeed! 



26 JAMES A. HERNE 

COUNTESS. Murderer! Incendiary! 

JUL. [Laughs] Ha! Ha! Ha! And you you call me so? 

COUNTESS. Yes! Yes! / call you so! You cannot deny your crime to me. I 
know the motives which the authorities do not even guess. You thought I 
would carry out my threat and you were frightened! 

JUL. Frightened? 

COUNTESS. Yes, frightened! All your promises and protestations were false 
false as you are! You thought to yourself "Poor deluded woman if I can 
but prevail upon her to destroy those letters, all proofs of our past intimacy 
will be ended! I'll then be free free to marry this Dionysia Chandore! She 
will confess all to her husband! I will prevent that!" Aha! You see, you can- 
not deceive me! You kindled that fire in order to draw my husband out of 
the house. You incendiary! And then fired at him! You coward! [Count 
appears at door L.jJE. He is very pale} 

JUL. Ha! Ha! Ha! Ha! And this is your plan? Who will believe this ab- 
surd story? Our letters were burnt. And, if you deny having been my mis- 
tress, I can just as well deny having been your lover. And, as to my being 
afraid of the Count Clairnot, your husband, it is well known that I am afraid 
of no one. When we were concealing our loves, at our secret place of meet- 
ing, I might have been afraid. For, had he surprised us there and availed 
himself of that just and righteous law which makes the husband both judge 
and executioner of his own case, [The Count with fierce determination raises 
his pistol} he could have shot me down like a dog. [Count about to shoot] 
Or, as I had tarnished his honor, he could abide his time to stain mine and 
avenge himself. [Count, with a cry, lowers his pistol] Except for this, what 
cared I for the Count Clairnot? What cared I for your threats or his hatred? 

COUNTESS. If you are innocent, who, then, could be guilty? 

JUL. [Seizes both her hands and hisses in her ear] You! Wretched woman 
you! 

COUNTESS. [With a cry of horror} Me? Great Heaven! 

JUL. You wanted to be free that you might prevent me from breaking the 
chains in which you held me. At our last meeting, when I thought you were 
crushed by grief, and was softened by your hypocritical tears your anger, 
which I mistook for love I was weak enough to say "I marry Dionysia only 
because you are not free." Then you cried "Oh, God! How lucky it is that 
thought never entered my brain before!" What thought? Come! Answer me! 
Confess! 

COUNTESS. Confess? 

JUL. Aye! That thought was murder! 



WITHIN AN INCH OF HIS LIFE 27 

COUNTESS. I was mad mad I tell you, with jealousy and anger! I have 
outraged and destroyed my husband's honor! But to murder him! Bah! You 
accuse me of what you know to be a lie! 

JUL. Then, madam, as you say if you are innocent, who could be guilty? 
[Countess sin\s in chair with horror] 

JUL. [Bitterly] You act your part well! 

COUNTESS. You believe I am the guilty one? 

JUL. [Ironically] Perhaps you only planned the crime and ordered some 
one else to execute it. 

COUNTESS. Great Heavens! [They stand for a few moments staring at each 
other silently] Well, sir, what is to be done? 

JUL. The truth must be told. 

COUNTESS. Which truth? 

JUL. That I have been your lover; that I went to Valpinson, by appoint- 
ment with you; that I came for the purpose of destroying our letters; and that 
the cartridge found there was accidentally dropped by me when I drew your 
letters from my pocket. 

COUNTESS. You want me to say this? 

JUL. Yes. 

COUNTESS. You want me to bear half the guilt? 

JUL. The truth must be told. 

COUNTESS . Never ! 

JUL. It shall be told! 

COUNTESS. Never! Never! Do you not see that the truth cannot be told 
that it would prove that we were accomplices and convict us both? 

JUL. Never mind. I am not willing to die. 

COUNTESS. Rather say, that you do not want to die alone that you want to 
drag me down with you! 

JUL. Be it so. 

COUNTESS. To confess, would be to ruin me! Is that what you want? 
Would your fate be less cruel if there were two victims instead of one? 

JUL. You calculate you bargain! 

COUNTESS. Yes. Because I love you. Remember, Jules, you are the father of 
my child. [Drawing closely to him t her voice losing its intensity and speaking 
in a soft, pleading way} One word from you, and I leave them all! Country, 
friends, husband, child! Speak that word, Jules, and I follow you, without 
turning my head, without a regret, without a tear. Why do you hesitate? Do 
you not see that I cannot part from you? Why, man, man, do you not see 
that I am ready to sacrifice my very soul for you? [She throws herself at his 
feet] Speak! Speak! [Jules throws her off. She reels and falls on sofa R.] 



28 JAMES A. HERNE 

JUL, No! No! [Following her] Murderess! Rather the scaffold! [Pause] 

COUNTESS. [Recovering and speaking slowly] Then what do you want of 
me? 

JUL. The truth. 

COUNTESS. To what purpose? [Jules turns from her] That you may be 
free to marry Dionysia Chandore! I am the past to you! She is the future! 
The old love must be made a footstool for the new! I must be disgraced, that 
she be honored! I must weep, that she may smile! No! No! [Note: The actor 
playing the Count is the best creator of his business and by-play during this 
scene] 

JUL. Wretch! 

COUNTESS. [Savagely] You do not know me yet! You shall never be hers! 
You belong either to the scaffold or to me! Either your life, or my love! 
[Holding out her hands in supplication] 

JUL. We shall see! [Starts towards door L.J.E.] 

COUNTESS. Where would you go? 

JUL. To your husband. 

COUNTESS. [Defiantly] Go! Speak! Denounce me! M. Folgat no doubt 
has told you how well I can defend myself. Your word would not be worth 
that! [Snaps her fingers defiantly] 

JUL. Fiend! [Rushes towards her as though to stride her. The Count 
comes C. from his place of concealment] 

COUNT. Do not strike that woman! [Pointing pistol] 

JUL. The Count! 

COUNTESS. My husband! 

COUNT. I have heard all! [Looking at them both with disgust and scorn] 
Miserable wretches! [Countess sin^s into armchair L] 

JUL. I have insulted you, sir. Avenge yourself! 

COUNT. [With a cold, hard laugh, lowering his pistol] No, no! The law 
will avenge me. 

JUL. What! Would you permit me to be condemned for a crime of which 
I am innocent? Ah! That would be cowardly! 

COUNT. [Supporting himself by bac\ of chair] Cowardly? What do you 
call the act of him who, meanly, disgracefully, robs another of his wife, and 
palms his own child upon him? What is the fire in my house compared with 
the ruin of my faith ? What are the wounds in my body in comparison with 
that in my heart? Go! Go! Miserable wretch! You cannot escape! I leave you 
to the law! 

JUL. Rather death, death! [Baring his breast] Why do you not fire? Are 
you afraid of blood? Shoot! I have been the lover of your wife! Your daugh- 



WITHIN AN INCH OF HIS LIFE 29 

ter is my child! [Count with a cry of rage, raises his pistol] Kill me and 
avenge your honor! 

COUNT. [Lowering pistol] No! The arm of the law is more certain than 
mine its aim more unerring! 

JUL. [In despair] You will not kill me? 

COUNT. No! Remember your own words, "As I had tarnished his honor, 
he could abide his time to stain mine and avenge himself." 

JUL. My God! 

COUNT. Now you know why I will not kill you. You have robbed me of 
my honor and I must have yours. And, if you cannot be condemned without 
it, in my dying deposition I shall say I shall swear that I recognized you 
as the assassin. [With a cry of horror t Jules crouches on sofa R. Countess 
stands as immovable as a statue L. Count, overcome with passion, stands with 
almost superhuman strength, then totters and falls] 

ACT V. 

SCENE: Elegant salon in the chateau of the Countess Clairnot. C. doors. Door 
R.jJE. Large bay-window opening on porch L. Fireplace RaE. Elegant 
furniture and decorations in room. Armchair R.iJE. Armchair L^JE. Sofa L., 
etc. Collette discovered on porch t arranging flowers, etc. Dr. Seignebos enters 
R. 3 JE. 

DR.S. [Loudly] Well? 

COL. [Startled] Oh! [Coming forward] Goodness, how you startled me! 
I thought the roof had fallen in! 

DR. S. [Feeling her pulse] Nervousness! Nervousness! 

COL. No, sir! Allow me to say I am not nervous. I have courage enough 
to stand anything in reason. 

DR. S. Fudge! How is the Countess since yesterday? 

COL. Very quiet, sir. 

DR.S. And little Bertha? 

COL. Worse than when you left her. 

DR.S. I am afraid she will soon follow her father. 

COL. Poor Count! 

DR. S. Where did you find him the night he died? 

COL. In the library, pale and rigid, his features fearfully distorted. He was 
unconscious and never spoke. 



3 o JAMES A. HERNE 

Da.S. 3 He became delirious, no doubt, with fever brought on by his 
wounds and, wandering from his apartment, his bandages came off, occasion- 
ing his immediate death. 

COL. Poor master! Poor master! 

DR. S. Yes, yes! [Abruptly, but very quiet] Now then, Collette, I will at- 
tend to Bertha. [Exits C. and L] 

COL. [Surprised] Why, what has come over the doctor? I never saw him 
go out so quiet before! [Dionysia appears at door R.J.E. Turning and seeing 
her] Madame 

DION. [Coming down] Is your mistress in? 

COL. Yes, madame. 

DION. Tell her a lady wishes to see her. 

COL. [Going, then stops] Shall I say whom, madame? 

DION. It is unnecessary. Merely say that it is important. [Collette bows and 
exits C. and L] 

DION. Yes, I shall speak to her! I shall ask her how she dares to rob him 
of life and honor, knowing him to be innocent and herself the criminal! He 
is innocent! He is innocent! And if I cannot move her to pity they will mur- 
der him! His best friends acknowledge him no longer! No hand will grasp 
his! And even those who were most proud of his friendship pretend to have 
forgotten his name! Great Heaven! And they call this human justice! But 
she can save him! She can save him! But will she will she? [Collette re- 
enters C. and L.] 

COL. Madame, the Countess sends word she cannot see you. 

DION. Cannot? She must! She shall! Go back. Tell the Countess that it is 
I, Dionysia Chandore! That if she does not come to me, I shall go to her. 
That I will arouse the neighborhood and publicly accuse her of the infamy 
for which another now innocently suffers! 

COL. But madame 

DION. Go. [Pointing] It is a question of life and death! [Collette bows 
and exits] Yes, of life and death! And all depends on me, on me! But if I 
fail? Fail! I cannot- I must not fail! [Enter Countess C., pale but very calm] 

COUNTESS. Since you insist upon it, madame, I have come to tell you my- 
self that I cannot listen to you. Are you not aware that I am standing near the 
grave of my poor child? [Going] 

DION. If you leave me without listening to me, I will follow you and shall 
speak in the presence of the dying. 

COUNTESS. Indeed! Is your business of so much importance then? 

8 This speech is crossed out in the manuscript and was evidently omitted in the acting version. 



WITHIN AN INCH OF HIS LIFE 31 

DION. [Tearfully] It is, madame. 

COUNTESS. [Immovable} Then be seated. [Dionysia sits R. Countess sits 
L.] Proceed. I hear you. 

DION. It is unnecessary to tell you my name. 

COUNTESS. It is. I know! [Half looking up] You are Dionysia Chandore. 

DION. You know that Jules de Dardeville has been put on his trial? 

COUNTESS. I do. 

DION. And that you you can save him 

COUNTESS. [ Calmly looking up} I ? 

DION. You seemed surprised, madame. 

COUNTESS. And why should I not be? What do I know of Jules de Darde- 
ville? How could I save him? 

DION. He asserts that you know a great deal. Your past intimacy 

COUNTESS. [Affecting great surprise} My past intimacy? 

DION. Yes. He states that he left you only a few moments before the fire 
took place that you know his innocence and can prove it. 

COUNTESS. [Starting up} This is infamous! Infamous! What? Jules de 
Dardeville has dared to tell you that? 

DION. Do not misunderstand me. Jules de Dardeville was your lover. He 
deserted you. You would now have your revenge by making him suffer for 
a crime of which he is innocent! 

COUNTESS. Innocent? Has he the audacity to assert this? Has he the au- 
dacity to charge me with having been his mistress? And to you? 

DION. No. He told me nothing. He simply confided it to his counsel. I 
listened and overheard all! 

COUNTESS. Then what do you want of me ? 

DION. To testify in his behalf to confess enough to save him! 

COUNTESS. To confess enough? I do not understand you! 

DION. Yes, you do understand me, madame. Why will you deny it? Do 
you not see that I know all? 

COUNTESS. [Controlling herself} Oh, this is too much! This is too much! 

DION. Can you not see that his love for you has brought him to destruc- 
tion? That he suffers wrongfully and you stand coldly by? Oh, what a 
woman you must be, not to cry out in open court and proclaim his inno- 
cence! How can you live and see the man you love go down to shame and 
infamy? 

COUNTESS. [Rising} No, no! It is not so! Only a week ago, he came here 
and I offered to fly with him. He had only to say the word and I would have 
given up everything for him! 

DION. [Quickly} And he answered? 



32 JAMES A. HERNE 

COUNTESS. Rather the scaffold! [Approaching her] Did this look as though 
I cared to see him go to shame and infamy? He refused me! He condemned 
himself! [Dionysia sin\s down, burying her face in her hands. Over her} I 
was quite willing to ruin myself for him. But I am certainly not willing to do 
so for another woman! 

DION. [Supplicating] Pity! 

COUNTESS. For you? You, for whose sake he abandoned me! You, whom 
he was going to marry! You, with whom he hoped to enjoy long, happy 
years! 

DION. Pity! Pity! 

COUNTESS. [Through her teeth] To you? You, to whom I owe all my mis- 
ery and sorrow? 

DION. Not for me for him! I have come to offer you a bargain. 

COUNTESS. [Recovering herself] A bargain? What bargain can you have 
to offer me? 

DION. Save Jules and, by all that is sacred to me in the world, I promise 
that I will enter a convent! I will renounce the world and you shall never 
hear of me again. 

COUNTESS. [Seated L., ironically] You would really do that? 

DION. Unhesitatingly ! 

COUNTESS. You would make this great sacrifice for me? 

DION. For you for Jules! 

COUNTESS. You love him then so dearly, do you? 

DION. I love him dearly enough to prefer his happiness a thousand times 
to my own! Even when buried in a convent, I should have the consolation of 
knowing I had saved him. 

COUNTESS. And would this make him love me? No! You know that he 
loves you alone. Heroism with such conditions is easy enough! What have 
you to fear ? Buried in a convent, he would love you none the less, and hate 
me all the more! 

DION. But he shall never know 

COUNTESS. What would that matter ? He loves me no longer. My love, to 
him, is a heavier load than the cannonball that's fastened to his chains! 

DION. [In despair] Oh, this is horrible! 

COUNTESS. [With force] Horrible? Yes! [Dionysia loo^s up] You look 
amazed! You have, as yet, only seen the morning of your love. Wait till the 
dark evening comes on! Then you will understand me 

DION. [Pleading] Oh, pity me, madame, pity me! [Falls on sofa] 



WITHIN AN INCH OF HIS LIFE 33 

COUNTESS. [Following her up] Our stories are the same. I have seen Jules 
at my feet. You have him now at yours. The vows of love he swore to me, he 
now swears to you. You have his promises so had I! 

DION. Oh, madame, spare me spare me! 

COUNTESS. But you think you will be his wife? And I never was! What 
does that matter ? What does he tell you ? That he will love you forever, be- 
cause his love is under the protection of God and man? He told me, because 
our love was not thus protected, that we should be united by an indissoluble 
bond a bond stronger than all others Death! You have his promise! So 
have I! It is time for one of us to claim it. 

DION. [Overcome, jails at her feet] My God! Mercy! Mercy! No more! 

COUNTESS. You you have sacrificed nothing for him I, everything the 
world! I gave him all and, if there had been more to give, he should have had 
it! Aye, even my very soul! And now, to be betrayed, forsaken, despised! 
And then to allow myself to be moved by your tears! No, no! Do not think 
I'll let the vengeance I hold in my hands slip from me at your bidding! Go! 
Go! [Pointing] Expect nothing from me. 

DION. No, no, I cannot go! I will not go, till you proclaim his innocence. 
Save him! Save him! [At her feet] Here at your feet, I beg, I implore, I sup- 
plicate, for mercy! Save him! My God! Would you see me die? Would you 
see me go mad mad? [Dionysia drags herself up to Countess. Countess 
throws her off. Dionysia falls and catches bac\ of armchair L. and supports 
herself] 

COUNTESS. Girl, girl, you plead in vain! Let him expiate his crime by the 
law. He is an incendiary, a murderer! 

DION. [Suddenly raising herself upright and turning to the Countess] 
Countess Clairnot, you lie! 

COUNTESS. [Triumphantly] Who then is? 

DION. You! Murderess! You! 

COUNTESS. [Starts, clutches bac\ of chair R] Me? Have a care! Have a 
care! 

DION. Oh, I fear you no longer! I supplicate no longer! We have proof! 
Absolute, overwhelming proof! 

COUNTESS. [Laughs] Then produce your proof! We shall see if the vile 
calumnies of an incendiary can stain the reputation of an honest woman! 

DION. [Mockingly] An honest woman! 

COUNTESS. Yes. We shall see if a single speck of this mud in which you 
wallow can reach up to me! Go! Go, I tell you! 

DION. [Rushing to Countess] Woman, woman, you must! You shall! 
[Collette enters quictyy C] 



34 JAMES A. HERNE 

COL. Madame, little Bertha is sinking fast, and asks for you. 

COUNTESS. [With great impatience, waving her off fiercely] In a moment! 
In a moment! Go! [Exit Collette] 

COUNTESS. [Turning to Dionysia] I must, I shall f what? 

DION. Save Jules's life! 

COUNTESS. [Through her teeth] Never! Never! 

DION. By the memory of your dying child, in its name, in its love, for- 
give Jules forgive me and save him! 

COUNTESS. [Throwing her off] Never! Never! Never! [Enter Dr. Seigne- 
bos and Collette C.] 

DR. S. Madame, your child is dead. 

COUNTESS. [Stunned] Dead? Dead! [Pause] The last tie that bound me to 
him is severed. My life has passed away! My heart is stone! Go, go to your 
lover, girl, and tell him this for me that the Countess Clairnot confesses be- 
fore these witnesses that she was the assassin of her husband, and Jules de 
Dardeville her accomplice. [Dionysia shrieks and falls] 

ACT VI. 

SCENE : Reception room in the prison of Sauveterre. C. doors opening on cor- 
ridor and view of a portion of prison. Large marble steps leading to room. 
Door R.jJE. with steps. Door L.2.E. leading to private room. Grated window 
L. Chant heard as curtain rises. Prison bell strides seven. Blangin discovered 
looking off C. towards L. 

ELAN. Another hour and Jules de Dardeville will be no more. [Enter Dr. 
Seignebos R.j.E. He comes down steps and approaches Blangin, unobserved] 

DR. S. [Loud and suddenly] Well? 

BLAN. [Starting] The devil! I thought the prisoner had escaped! 

DR. S. Fudge! [Aside] I wish he had! 

BLAN. But he's all right. His death will be painless. 

DR. S. How do you know? Did you ever try it? 

BLAN. Me? No, I never had that pleasure. [Noise of hammering heard off 
L.} 

DR.S. What's that? 

BLAN. Oh, they're only putting up the scaffold. 

DR. S. Only? Does the prisoner hear it? 

BLAN. Certainly. It must be a great consolation for him to know his 
troubles will soon be over. 

DR. S. Great consolation indeed! 



WITHIN AN INCH OF HIS LIFE 35 

BLAN. It was an awful crime, sir, and the prisoner deserves his fate. 

DR. S. [Aside] Deserves a fiddlestick! 

BLAN. The poor Countess has never recovered from the shock. 

DR. S. No! Nor perhaps she never will. I was at her house the night she 
lost her wits. 

BLAN. [Interested] Tell me about it. 

DR. S. It was caused by overexcitement. The condemned's betrothed had 
called to ask the Countess to intercede in his behalf. The previous events 
the fire the death of her husband followed so suddenly by that of her child 
all combined, were too much for her mind to bear. She became delirious, 
hysterical, actually insane, began to rave, and declared herself the assassin of 
her husband, and Jules de Dardeville only her accomplice! 

BLAN. Ridiculous! 

DR. S. Yes. No notice was taken of her ravings, for we all knew she was 
non compos mentis. 

BLAN. Poor woman! 

DR. S. She hasn't recovered from the shock since. The only thing that in- 
terests her is the trial and conviction of Jules de Dardeville. 

BLAN. [Looking off L.] Hush! Here is the magistrate. [Enter Galpin and 
Seneschal R.jJE. and come down steps] 

GAL. [Bows stiffly to Doctor, then turns to Blangin] How has the pris- 
oner spent the night? 

BLAN. Very quietly, sir. 

GAL. Are the good fathers with him still? 

BLAN. Yes, sir. 

GAL. He is reconciled, then, to meet his fate? 

BLAN. Yes. So I heard him tell them. 

GAL. That will do. [Blangin bows and exits C. off L.] 

DR. S. [Crossing to Galpin, ironically] M. Galpin, allow me to compli- 
ment you upon your admirable prosecution of the case. You will no doubt 
some day become a very great man. 

GAL. I did my duty, sir. Had he been my brother, it would have been all 
the same. 

DR.S. [Aside, going L.] Yes, or your grandmother! [Enter Folgat and 
Magloire R.jJE. Bows exchanged] 

FOL. [To Galpin] I was seeking you. Has the petition for delay been re- 
ceived? 

GAL. No. 

FOL. [In despair] No? 



3 6 JAMES A. HERNE 

GAL. No! You may expect no mercy from the Emperor. The condemned 
was an avowed Republican. 

FOL. There is then no hope? 

GAL. None. [Bell strifes one, a quarter past. To Blangin, who u>al\s up 
and down corridor} Admit the prisoner. [Blangin exits L. Sound of unloc\- 
ing prison bolts. Two Gendarmes enter and place themselves R. and L. of C. 
doors, followed by Jules de Dardeville. He is pale but very calm. Blangin con- 
tinues his walJ^ up and down the corridor. Jules comes down and grasps the 
hands of Folgat and Magloire, then the Doctor. He turns around and bows 
to Galpin and Seneschal] 

FOL. Ah, Jules, this is hard, very hard! 

JUL. Bear up my friend! Do not unman me. I am innocent and can face 
death like a man. [Grasping his hand] You have done all that you could for 
me, but fate has ordained it otherwise. [Turns to Magloire] You, too, have 
been my friend. Good-bye! [Magloire shades hands with Jules, then retires 
up stage, greatly moved. To Doctor, who comes down] Ah, Doctor, friend- 
ship's a word that's easily said, but you have proved a true friend indeed. 
[Shades his hand] Farewell! 

DR. S. [Overcome] Fif-fif-fer well! [Goes up, wiping his eyes with hand- 
kerchief] 

GAL. [Crosses to Jules] You will, I am sure, pardon me for the unpleas- 
ant part I have taken in your prosecution. You know law is law. 

DR. S. [Aside, at bacJ(\ D-da-damn the law! 

JUL. M. Galpin, life is too short to waste in enmity. Standing, as I am, 
upon the verge of eternity, I would not deprive you of whatever satisfaction 
you may have in life. You have done your duty, such as you consider it! 
Farewell! [Offers his hand] 

GAL. [Taking it] Farewell! [Aside, going R.] The greatest execution on 
the calendar! My fortune's made! [Bell strides two] 

JUL. [Struggling with his jeetings, overcomes them and continues calmly] 
Now comes the worst of all. Dionysia. [To Blangin] Admit her. [Blangin 
exits L^JE. and enters immediately with Dionysia. She rushes to Jules. He 
opens his arms] Dionysia! 

DION. [Sobbing] Jules! Jules! [Enter Countess Clairnot R.jJE. in deep 
mourning and heavily veiled. She remains at bacJ^ unobserved] 

JUL. Dionysia, do not unman me. 

DION. [Sobs] Oh, my heart, my heart is breaking! 

JUL. Dionysia! Dionysia! Let me meet my fate calmly. See! I am not 
afraid. I never was more resigned to anything in my life. Nothing but the 
sight of your grief could unman me. 



WITHIN AN INCH OF HIS LIFE 37 

DION. Jules! Jules! 

JUL. Your sweet and innocent love for me has turned and stung you like 
a serpent! If it were not for this, I could go to my grave without a pang, 
without a sorrow. 

DION. Oh, Jules, Jules, would that I could die with you! 

GAL. [Coming to her] Calm yourself. [Dionysia turns away from him 
without noticing his remarJ(\ I am the magistrate, yet I can sympathize. 

DION. [Turning to him] You you sympathize? Yes, as the serpent sym- 
pathizes with the victim it fascinates! He was your friend! In his noble and 
generous nature, he cherished you. Misfortune came and you turned upon 
him like a viper! May the memory of his headless corpse be to you an ac- 
cursed phantom, hideous as the image of your own soul, cruel as your miser- 
able ambition! 

DR. S. [At bac\, aside] Bravo! Bravo! 

GAL. [Annoyed] Were it not for the situation, miss, I should teach you 
to respect the magistrate, if you did not the man. [Goes up. Bell strifes three] 

DION. [Screams and clings to Jules] Oh, Jules, Jules, must you die? 

JUL. [Embracing her quickly] Dionysia! My love! My love! I cannot 
struggle! I cannot fight with fate! My end is drawing near. [Kisses her, then 
disengages himself from her} Farewell! Farewell! [Dionysia, screaming, is 
ta\en from his arms by Folgat and led off L.2.E. Jules for the first time is 
overcome and bursts into tears, and sin^s on chair L.] This is terrible! Thank 
Heaven, I am spared another meeting with my parents! 

GAL. [Comes down and touches him on shoulder} M. Jules de Dardeville, 
you have but a few moments left. Prepare yourself. [Jules rises quickly and 
stands erect and calm. Folgat enters LzE*} 

JUL. [To Folgat] To you, I entrust my fortune, to be divided among such 
charitable institutions as you think fit. Comfort my poor parents and 
[Mastering himself] and Dionysia! Farewell! [Turning to Golf in} Sir, I 
am ready. [They move up slowly to C. The Guard appears in corridor and 
stands in file. Enter Cocoleau r quic)(Ly t R.jJE. He is pale and wild looking, 
his eyes almost staring out of his head. He sees Countess, who comes down 
R. corner unobserved, as others move up C} 

COUNTESS. [Seeing him, seizes him by the arm and brings him to her} The 
vial! Quick, Cocoleau! The vial! 

Coco. [Laughs} He! He! He! Here it is. [Takes it from his breast} I 
found it just where you told me in the little back drawer. I got it! I got it! 
Here it is. [Gives it to her and, putting his hands to his head, laughs idiot- 
ically} 



3 8 JAMES A. HERNE 

COUNTESS. In life he has been mine! Death shall not part us. [Snatches 
vial from Cocoleau and throws off her veil] Jules de Dardeville, we die to- 
gether! [General movement] 

OMNES. Countess Clairnot! 

COUNTESS. Aye! The Countess Clairnot! [Raises the vial quickly, then 
starts] It is empty! [To Cocoleau] Wretch! Fool! What have you done with 
the contents? 

Coco. [Almost reeling, places his hand to his head, and starts as if in great 
pain] Done with contents? [Laughs] He! He! He! I drank it. 

COUNTESS. You drank it? 

Coco. [Laughing and smiling f^nowingly] Ye yes! 

COUNTESS. Idiot! You are poisoned! 

OMNES. Poisoned? 

Coco. [Staggers C. and stands in great suffering, showing the symptoms of 
a poisoned man, and in spite of all, looking at Countess with an expression of 
profound love and devotion, smiles] I I I know it. 

COUNTESS. You knew it? And still you drank it? [Characters all drop 
down, interested] 

Coco. [Knowingly] Ye yes for if I hadn't you would and and 
Cocoleau didn't want that! Cocoleau didn't want that. 

COUNTESS. [Turns away] Fool! [Cocoleau reels and falls C] 

GAL. [Impatiently] We are wasting time. 

FOL. We still have five minutes. I crave your indulgence 

GAL. I regret it deeply, but 

FOL. The ravings of this idiot convicted my client. His ravings now may 
clear him. I insist! 

GAL. [Impatiently] As you please. 

FOL. [Bows] Thank you. [Cocoleau recovering and looking in a sort of 
dazed manner, his eyes finally resting on the Countess, then on Jules. He then 
bursts into a flood of tears] There is something he wants to telL 

DR. S. [Going to Cocoleau] He is sinking fast. In a few moments all will 
be over. 

FOL. [Kneeling by Cocoleau] My boy, is there anything I can do for you? 

Coco. [Looking at him] Ye yes! 

FOL. What? Speak. 

Coco. Raise raise me up! I I want to say something. 

FOL. [Raises his head] Now say it, my boy. [Cocoleau turns and loo^s at 
Countess with expression of "May I?"] 

COUNTESS. Speak! 



WITHIN AN INCH OF HIS LIFE 39 

Coco. [With effort} Yes I want to say it so bad. [To Countess] 
You won't be angry with poor Cocoleau will you? I I can't keep 
it any longer. I I must speak or I shall choke choke! [Tears open his 
cottar; after a slight pause] You sent me for the poison. You wanted to 
drink it because you were so unhappy and when you were un- 
happy Cocoleau was unhappy too! I love you I love you oh, so much! 
You wanted to drink it because he he [Pointing to Jules] was 
going to die and you wanted to die with him! [Laughs] But I can save 
him! I can save him! And you can live live and poor Cocoleau 
will die for both both! [Falls bacQ 

FOL. Go on, my boy! Go on! 

DR.S. Hush! 

Coco. [After effort, painfully] He he [Pointing to Jules] didn't kill 
master. No no no! [Laughs idiotically] 

FOL. No? Then who did? 

Coco. [Triumphantly] I I I! [Laughs. Magloire exits LzE. and enters 
immediately with Dionysia. Dionysia, with a cry, rushes to Jules] 

COUNTESS. You? 

JUL. You? 

OMNES. You? [Countess and Jules stare at each other] 

Coco. Yes I shot Count Clairnot and Jules de Dardeville is 
innocent! 

GAL. You shot Count Clairnot? Why? 

Coco. [Crawling to feet of Countess and 'kissing her dress] To to please 
my pretty lady. [Looking up in her face with the love and devotion of a 
dog] She loved him [Pointing to Jules] and she didn't love the Count! 
She she used to cry much much to herself and say if she was free 
Jules de Dardeville would marry her. She was always so good and 
kind to poor Cocoleau and Cocoleau loved her loved her and puzzled 
his poor brain [Feels his burning temples] to find out how he could 
save her. So when he came the night of the fire I was hid in 
the shrubbery and heard what they said. And when he burnt the let- 
ters I threw them under the house with some shavings just to draw 
master out. [Looking up] It was not my fault if the whole house 
went afire. And when master came out I shot him! [SinJ(s bac\ ex- 
hausted] 

COUNTESS. [Aside] Jules de Dardeville innocent! 

JUL. [Aside] She, guiltless! 



4 o JAMES A. HERNE 

GAL. This confession, to have weight, must be corroborated by something 
more than a simple self -accusation. The law is very clear on this point. [To 
Cocoleau f as he slowly raises himself up] Have you anything more to say? 
[Cocoleau shades his head painfully] 

FOL. Can you think of nothing? [Cocoleau shakes his head. Suddenly} 
The weapon? What did you do with the weapon? 

Coco. [After effort] The gun the gun [Suddenly remembering} Ah! 
It's there there under the steps of the prison. I hid it there last 
night. [Folgat exits quietly R.jE. Delirious, crawling to Countess} Good-bye 
good-bye! Don't curse poor Cocoleau. He did it all for you all for 
you dear dear lady! [Dies. During the last of Cocoleau' s death scene r he 
rises and staggers towards L^E. and when he dies, he is caught in the arms 
of two Gendarmes and dragged off LaE. Enter Folgat with gun. He hands 
it to Gal fin} 

GAL. [Ta%es gun and examines it} Yes, this was the property of the Count 
Clairnot. His name is on the stock. It now rests on the Countess Clairnot to 
substantiate the dying statement of Cocoleau. [All eyes are turned on the 
Countess Clairnot. To Jules} Your life is in her hands. It is a trying moment. 
For her honor, her reputation hangs in the balance. 

JuL. 5 What will she do? [Pause} 

COUNTESS. [Slowly, without raising her eyes} Jules de Dardeville, inno- 
cent myself, I believed you guilty. I hated her. I hated her so, that I could 
have seen you expiate the crime with which you were charged with joy. Had 
I known you to be innocent, I should have spoken before this. I do not ask 
forgiveness. I do not even want your pity. You have wronged me more deeply 
than I have wronged you. Your wound will heal. Mine never will for it has 
left its poison here! [Clasps her hand over her heart and turns away for a sec- 
ond, deeply affected} 

JuL. 6 Genevieve for her sake 

COUNTESS. What little reparation I can make, I make to her. [To Dio- 
nysia} You are too good and noble, your love too innocent and pure, to be 
shadowed by the darkness that broods over mine. My sacrifice is great, very 
great for it leaves me nothing not even my good name. [Turning to Gal- 
pin} M. Galpin, what M. Jules de Dardeville has stated before is true, every 
word of it. [To Dionysia] Forgive me! 
DION. [Goes and pisses Countess} Freely. 

' 5 This speech was added to the manuscript in revision in Herne's handwriting. 

6 This speech was also added to the manuscript in revision in Herne's handwriting. 



WITHIN AN INCH OF HIS LIFE 41 

COUNTESS. [Patting her head} He loves you, and you were ready to sacri- 
fice your life for his sake! He forsakes me, but I sacrificed my name, my 
honor, for him. Farewell! Jules! [Jules embraces Dionysia] Let my great and 
overwhelming love for you be my excuse. [Kisses his hand} Farewell! You 
will never see me again. [Turns to Dionysia] From my convent cell I will 
pray that you may be happy! God bless you! [Overcome, covers her face with 
her hands. Jules fosses Dionysia. Bell strifes eight] 

CURTAIN 



"THE MINUTE MEN" 
OF 

1774-1775 



CAST OF CHARACTERS 

[Chestnut Street Theatre, Philadelphia, April 6, 1886] 

SIR FREDERICK SHELTON, Colonel in His Majesty's 

i8th British Grenadiers HENRY TALBOT 

CAPTAIN HENRY WINSLOW, Retired officer 

of the old French War THOMAS j. HERNDON 

REUBEN FOXGLOVE, "Minute Man" JAMES A. HERNE 

NED FARNSWORTH, Captain of the Minute Men CHARLES G. CRAIG 

ROANOKE, An Indian CHARLES w. VANDENHOFF 

DYKE HAMPTON, Cousin of, and affianced to Rachel M. j. JORDAN 

MORTON HANDY, In service of Hampton j. c. WALSH 

LIEUTENANT SMOLLET, Of the iSth Grenadiers HARRY M. PITT 

DOROTHY FOXGLOVE, Adopted daughter of Reuben KATHARINE CORCORAN 

RACHEL WINSLOW, Daughter of Captain Henry Winslow MARY WILKES 

ANN CAMPBELL, A woman of the period JENNIE REIFFERTH 

JOE ALLEN 

Minute Men 
ROBERT HERRICK 

AN ORDERLY, English 
A SERGEANT, English 
COLONEL SMITH, English 

MINUTE MEN, ENGLISH AND AMERICAN SOLDIERS, DRUMMERS, FIFERS, INDIANS, 
ETC., ETC. 



ACT I. 

TIME: 7774. 

SCENE i : Dorchester Heights with Bay of Massachusetts seen in distance RH. 
The scene at opening represents a summer afternoon after a heavy 
thunderstorm, and must have that grand effect the sun gives shining 
through a peculiar sty after a rain, rendering one portion of the scene nearly 
dar\, the other lighted by a peculiar but very effective brightness the entire 
effect very picturesque and true to history. During the Act the sun sets and 
twilight appears the sty and entire scene must change with the setting sun. 
On the left is an old-fashioned farm house and dairy. The house is built after 
the manner of the better houses of its period say 1740 or thereabouts: viz. 
logs or timbers so exactly squared and joined as to ma\e smooth compact 
walls, has long low porch and low verandah, the whole neatly whitewashed; 
vines clamber over porch and flower garden surrounds the RJFi. end and cor- 
ner. Old-fashioned plow R.jJE. Rustic seat R. of dairy. Rustic chair down R. 
The dairy is open to the audience and contains churn of the period and dairy 
implements, all of which are scrupulously clean, a pail partly filled with clean 
water and a gourd for dipping it out. The RJFI. is shrubbery and foliage the 
bac\ looking on to the arm and away to the Bay on the R. and distant hills on 
the LH. Discovered: Ann Campbell in dairy churning. She is dressed in 
homespun old-fashioned gown f hair plainly done in style of time; is a good 
natured t determined woman. British Soldiers in fatigue dress are seen oc- 
casionally passing to and fro at bac\ during scene, but paying no attention to 
dialogue or action. "Music" very bright and characteristic at rise opens ff., 
becomes piano as curtain goes up and dies gradually away as Hampton 
speaks. Enter from U.R. Dy^e Hampton, a dar^ f sinister man about forty- 
five years of age. He is dressed in riding habit of well-to-do man of period, 
carries a whip. 

DYKE. [Speaking as he enters] Good-day, Mrs. Campbell. I hope I see you 
well! 

ANN. [Looking up but not ceasing wor\ and evincing no pleasure at seeing 
him] Why, Mr. Hampton! Who'd a'thought a'seein' yeou, this day of all 
days! 

DYKE. {Coming towards dairy] Well, you see, like the hunter in the 
chase, I thought I'd be in at the death! [Music ceases] 



46 JAMES A. HERNE 

ANN. Yes! An' as Rachel writes, ef it hadn't a'been for the all merciful 
hand o'Providence, it might a'been in at the death indeed! [Pours water into 
churn} 

DYKE. [Taking seat R. of dairy] The accident was serious then! 

ANN. [Churning] Wa'll it wa'ant no jokin' matter but where was yeou 
that yeou didn't know? 

DYKE. Absent at York. Trying to recover some of my Hampshire land 
grants. 

ANN. Ya'as lands, some folks about here say you never lost! 

DYKE. Indeed who are the some folks pray? 

ANN. [Looking at him curiously, then taking off churn cover, looking into 
churn, replacing .cover and churning furiously] I disremember they're 
names jist now; but you was atalkin* about the Captain and Rachel! 

DYKE. Yes I am anxious to obtain the particulars of the accident. Will 
you be good enough to relate them? 

ANN. Sartin! Sartin! Unless you'd prefer to hear 'em from the lips of 
Rachel herself, which of course you've a right to, seein' as how you're en- 
gagedeh? They say you be engaged! Be you? 

DYKE. Pardon me, Mrs. Campbell, but will you oblige me with the in- 
formation I came to seek? 

ANN. Sartin! Sartin! Well, yeou see, about a month ago the Captain an' 
Rachel was a'returnin' hum from they're visit to Albany, when in descendin' 
a mountainious rud the hosses took fright an' gettin' the better of the Cap- 
tain, who ain't as young as he was once, dashed down the mountain like 
all possessed. The carriage was overturned an' the Captain was purty badly 
shook up besides a' sprainin' of what he calls his fightin' leg cos it wouldn't 
run away when the other one wanted to at the battle of Quebec an' 

DYKE. Yes yes I know! 

ANN. Exactly! Well, Rachel, she screams an' then faints as any other 
brave woman'd a'done an' out o' the forest comes a tall, handsome man 
jist for all the world like a page out'n a story book, an' manages to carry 
'cm to his cabin nearby an' bein' half hunter half docter good Samaritan, 
Balm O'Gillead an* ministerin' angel all rolled into one he sets to work 
a'nussin' an' a'docterin' 'em with harbs an' simples till they're strong enough 
to resume journey hum, where if nothing further happens they'll all three 
arrive afore dusk! 

DYKE. Oh! Then this hunter-doctor is expected too? 

ANN. Sartin! Rachel wouldn't take no for an answer. She said she was 
afeared to travel without her physician, an' the Captain swears in good 
sound cuss words that his nuss shall make his hum here for a year at least! 



"THE MINUTE MEN" 47 

DYKE. Rachel writes in glowing terms of her new friend, then? 

ANN. Glowin'? Well she jist glows all over she says he's the tallest, 
strongest, handsomest, self-sacrificin'st man she ever see. Ahem! 

DYKE. I trust a further acquaintance will give her no cause to change 
her sentiments, I'm sure. And as any service rendered her is fully appre- 
ciated by me, I shall avail myself of an early opportunity to thank this hand- 
some stranger for his care and attention to my fair cousin. 

ANN. Yes I'd so advise, as your fair cousin looks to see Mr. Wynthrop 
well received by all who call themselves her friends! 

DYKE. [Bows as if to satisfy her of his sincere intentions] And now 
tell me, Mrs. Campbell, how do you like active service? 

ANN. What d'ye mean by active service? [Stops churning] 

DYKE. Is not Sir Frederick Shelton quartered here? 

ANN. Oh! Yes, ef that's what you mean but I want yeou to understand 
that I hain't in his active service, nor in the active service of any Britisher 
that ever wore scarlet. 

DYKE. Captain Winslow and he were brother officers in the Old French 
War, I believe? 

ANN. Yes. An' when the Captain heard of Sir Frederick's rigimint bein' 
camped near here, he writ to hev Sir Frederick an' his staff make themselves 
to hum in this house till he returned. They've done so an' while I've too 
much respect for the old Captain to disrespect any guest o* his'n, when it 
comes to active service, you'll find me on the other side o' the fence tooth 
an' nail. America's my country! An' if it comes to a fight, I can carry a 
musket an' use it too as well as the next man. Active service indeed! [Ta%es 
butter out of churn and slaps it into wooden bowl with a bang. Characteristic 
music to taJ^e Dy%e off and bring Reuben?- and Roano\e on] 

DYKE. Dear Mrs. Campbell, neither your courage nor your skill are to be 
doubted! I thank you for your cheerfully given information and will en- 
deavor to be present at the reception of our expected guests. Good-day to 
you! 

ANN. Good-day an' don't forgit that I'm allus ready for active service, 
but it must be In a righteous cause! \Ta\es butter and exits through rear of 
dairy] 

DYKE. [Turning to go R.iJE] So! So! a new found friend who may prove 
a rival! This must be looked to. I must press the Captain to a speedy ful- 
fillment of his promise. Delays are dangerous to lose the girl were to lose 
all! All? No should I not still hold her fortune? Fortune? Jove! Dyke 

1 In the manuscript this character's name is spelt "Rueben," evidently through an error of 
the copyist. 



4 8 JAMES A. HERNE 

Hampton, would you deceive yourself? The fortune of a monarch would not 
content you without her. Your passionate love for her burns in your veins 
and swells your heart till you pant and thirst like the tracking bloodhound, 
and, like him, you will not be balked of your prey. Faugh! It may be but a 
scare after all. Forewarned is forearmed and I start with the advantage on 
my side! [Exit slowly R.i. Music increases and Reuben enters followed by 
Roanoke, UJE.R. Reuben quaintly dressed in hunting costume but carries 
no gun. A man of 55 years or thereabouts. Iron gray hair which he wears 
long, no beard face weather beaten and grizzled, but bearing the stamp of 
perpetual good-nature and generosity. He carries a bundle of herbs. Roanofa 
a tall, handsome young Indian, of 25 years or so, face as light as a man heav- 
ily tanned and sunburned. He must be straight as an arrow and lithe as a 
willow. He is fully and picturesquely costumed (see plate), carries a rifle and 
game, consisting of squirrels, pigeons and small birds. Music drops as they 
begin dialogue and finally dies away] 

REU. Roanoke, you've begun the week well, as the feller said who was to 
be hanged on a Monday. Pigeons, plover, squirrels! You're airly on the 
wing, as the worm said to the robin! [Reuben L. f Roanoke R] 

ROAN. Roanoke is never lighter of heart, fleeter of limb, stronger of arm 
or surer of aim, than when serving a friend. He would fret like a wounded 
deer could he not bring his share of the feast that is to welcome home the 
White Captain and his beautiful daughter! 

REU. Right you are. It's more blessed to give than to receive, as the mate 
said when he flogged the cabin boy an' you're allus a'givin' an' a'doin' 
suthin' for the Captain, Rachel or my Dorothy! 

ROAN. Dorothy the Little Primroses-voice like the matin* song of the 
lark laugh like the rippling water-eyes like the liquid dew-drop step 
like the bounding fawnshedding life and joy on every living thing blessed 
by the sunlight of her presence! Roanoke like all else loves her. The Great 
Spirit watch over and protect her and the vengeance of Roanoke on him 
who wounds her even by a look! 

REU. That's Injun all over, that is. Let an Injun love anything an' he's 
all -Injun. Let him hate anything an' he's well he's all Injun too! [Music 
pp. till Roanoke off] 

ROAN. Why should not the Indian love the sweet Primrose? Has she not 
taught him all he knows beyond the ways of his tribe? Has she not brought 
light to his darkened mind taught him to read the grand books told him 
tales of the brave warriors and mighty hunters, who have gone before- 
taught him to shrink from the cruelties of his race to love only that that is 
good and beautiful to hope that he might one day be something more than 



"THE MINUTE MEN" 49 

a mere Indian and be worthy to pluck the pretty Primrose, plant it in his 
heart, there to blossom and bloom forever? 

REU. Roanoke there's a good deal o' man in yeou as Jonah said to the 
whale's belly an' when that little Primrose makes up her mind just where 
she wants to be transplanted, I ain't a'goin' to say a word agin* her choice, 
so long's the soil's fresh 'n sweet 'a kep well watered by truth, honesty 'n 
manhood. I can't expect to keep her allus. When the time comes I'll give 
her up with an achin' heart meb'be, but I'll give her up all the same. An' 
now let's find Mrs. Campbell an* hand over our plunder. That's a great 
woman, Roanoke Mrs. Campbell is she ain't no primrose an* they ain't 
much boundin' fawn left in her, but fur fryin' doughnuts, darnin' a feller's 
stockin's, nussin' a sick baby, or smoothin' a dyin' woman's piller I'll put 
her agin' any woman in Massachusetts! 

ROAN. Give her these, Father Reuben. [Gives game] Say Roanoke sends 
them with his best love, and will return to greet the White Captain and 
bid him welcome home! 

REU. [Taking game] Be sure yeou do git back. Yeour face'd be one o' 
the fust to be missed by the Captain ye know. 

ROAN. Roanoke will return fear not! [Exit through trees at bac\, looking 
around house and at windows in hope of getting a glimpse of Dorothy. At 
same time enter from house C., Ann Campbell. Music ceases. Reuben turns 
from looking after Roanoke and meets her] 

REU. Ah! Mrs, Campbell! 

ANN. Hello! Reuben! That yeou? 

REU. Yes. I was jist goin* to look you up. Me'n Roanoke's been a'huntin'. 
I dunno's Roanoke's hunted any more'n I hev, but he found more them's 
his'n. [Gives game] An* them's mine! [Gives herbs] 

ANN. [Smelling them] Sassafras! How good it does smell! Thank ye 
I was afeared you'd forgit it! 

REU. Forgitten ain't one o' my strong points but say -Ann er, Mrs. 
Campbellwhat on airth be ye agoin' to do with all them 'ere yarbs? 

ANN. Experiment don't intend to drink no chiny tea till the tax's took 
off. Mean to try fust one thing an 5 then another an' sometime I'll hit on 
suthin'll make as good tea if not better'n chiny tea. This is a great country 
an' everything ain't found out yit. There's checkerberry now it makes good 
tea 'f tain't allowed to bile. Bile checkerberry an' it loses its vartue. 

REU. I've e'en a'most forgot the taste o' chiny tea myself. I ain't drinked 
no checkerberry but I've swallered enough Balm o' Gillead sage moun- 
tain mint sweet fern an' catnip to start a pothecary in bizzness. 



5 o JAMES A. HERNE 

ANN. I love 'emevery one on 'em! There's a flavor of freedom in 'em 

all! 

REU. Freedom's all very well, but what's the use o' lyin' when the truth 
kin be proved agin' yean' I say I'd give a good deal for a cup o' good ole- 
fashioned chiny tea, all the same! 

ANN. Well ef yeou wait for Ann Campbell to brew it for ye yell hev 
checkerberry a sproutin' out all over ye, an' catnip juice a'oozin' out'n yer 
finer e'ends! What's the news over in Boston? 

REU. There was a big meetin' in ole Tunnel last night. Sam Adams an' 
Dr. Warren made some purty strong speechifyin' they say there's no way 
out'n it 'cept fight! 

ANN. Fight! That's it! Fight! That's the way out'n it an' the sooner it 
comes the better say I! 

REU. It'll make purty hard times! [Looking at her slyly] 

ANN. Hard times ain't a'goin' to skeer me, nor hard blows nuthin' if it 
comes to that! 

REU. Talkin' o' fightin', what's come o' Dorothy? [Dorothy's music be- 
gins pp., swells as she enters and dies away during her scene] 

ANN. Cleanin' house! She wouldn't let me lay a finger on a blessed thing 
in Rachel's room. She's been as busy as a bee all day, and she hed that Eng- 
lish Imitation soldier a'runnin' around like mad- luggin' water an' a'sweep- 
in' an' a'dustin', an' the sweat a'runnin' off'n him like rain off from a duck's 
back. The last I see on 'em, she hed an apron on him an' he was a settin' 
on the winder lidge, cleanin' winders! 

REU. Well, she couldn't put the British Army to better use, I'm sure! 
[Dorothy laughs in house] Hello talk o' the ole boy 

DOR. [In house] What, an officer, and can't pare apples! Where's your 
military education? 

SMOL. [In house] Dear Miss Foxglove, paring apples does not come under 
the head of military tactics! 

DOR. [In house] Oh! Nonsense! Soldiers should know everything! 
[Laughs] 

REU. It seems to be gineral trainin' day with her. I'll make myself scurse 
or shell want to press me into the service! [Exit C7J5J2. laughing and loop- 
ing bac\ at house. At same time Ann exits with game and herbs, through 
dairy. Music swells with Dorothy's laughter till it becomes a perfect burst as 
she enters and then quiets down and gradually dies away. She has \nife and 
wooden bowl; dressed handsomely and has large apron over all; locket on 
slender chain around ncc\. She is immediately followed by Smollet, who 
has coat sleeves rolled up, English Lieutenant's Undress Uniform, a woman's 



"THE MINUTE MEN" 5 1 

apron on and carries a pan of apples. Smollet is an elegant English gentle- 
man, full of humor, and gallantry. Dorothy, the quintessence of roguish and 
witching comedy. Smollet protests and she will not listen till they are well on 
the stage] 

DOR. [Laughing] There! There! Don't talk! Let us get to work! Or there 
will be no pie for supper. I declare you've done nothing but talk this blessed 
day! 

SMOL. [R. protesting good-naturedly] But dear Miss Foxglove, suppose 
Sir Frederick were to surprise me? 

DOR. He will never surprise you in better company, nor in a more useful 
occupation! 

SMOL. Do let us retire to the kitchen, the proper place for 

DOR. The kitchen is too hot! I'm hot! 

SMOL. Warm! 

DOR. No! Hot! When I'm warm, I'm warm; and when I'm hot, I'm 
hot. And now I'm hot! [Looking at him decidedly] 

SMOL. Yes! Hot! [Eyeing her with a smile. She bows as if satisfied] The 
rear porch, then! 

DOR. Lieutenant Smollet 

SMOL. [Correcting her] Smollet, please! 

DOR. Smullet! 

SMOL. Smollet! 

DOR. Smallet! 

SMOL. Smollet! S-m-o-l-l-e-t permit me to know my own name, please! 

DOR. Smollet! Excuse me I you are ashamed to be found in my com- 
pany and engaged in the useful occupation of paring apples. Why [At- 
tempts to ta\e apples from him] 

SMOL. Oh! Good gracious no! Only too happy to be near you under 
any circumstances I assure you! 

DOR. Then sit down and let us get to work: [Seats him on steps of porch. 
Sits near him. Business of arranging the apples and getting closer and closer 
to him until she is quite snug and comfortable. Loof^s at him archly during 
all this. He plays this entire scene with extreme good nature, but is at no 
time the slightest particle silly. She now begins to pare apples. Finds %nife 
dull and after one or two attempts stops] Oh! Pshaw! What a knife! It's as 
dull as a hoe! It wouldn't cut butter if it were hot! I'll run and get another! 
[Attempts to rise] 

SMOL. [Preventing] Oh! No! No! No! Don't do that here, take my pen- 
knife! [Offering it] 



5 2 JAMES A. HERNE 

DOR. That will never do, Lieutenant! They say that to give a person a 
knife is a sure sign of a quarrel! [Archly] 

SMOL. But I don't intend to give it only lend it to you! 

DOR. Oh! [Simply] That's a different thing altogether. Thank you. 
[Ta^es his faife; gives him hers] You can use this strop it a little on your 
belt. [Both begin wor1(\ Now we are all right. You can talk. We'll both 
work. Be sure you say pretty things to me. [Laughs] And I'll keep a look out 
for my boy. He generally needs his mother about this time, so he's sure to 
be along presently to hunt me up! 

SMOL. Boy! Good gracious! Miss Foxglove, do you mean to say that you 
are a mother? 

DOR. [Without looking up] Umps. 

SMOL. Where's your husband? 

DOR. Never had one! 

SMOL. Miss Foxglove! 

DOR. Fact, I assure you! 

SMOL. And you are a mother? 

DOR. Yes! 

SMOL. How long have you been a mother? 

DOR. Ever since I can remember! 

SMOL. Good gracious! How old is your boy, pray? 

DOR. About fifty. 

SMOL. Most extraordinary! May I ask how you call him? 

DOR. Whistle for him! Or blow the horn! 

SMOL. [Laughing] No! No! What's his name? 

DOR. Reuben Foxglove! 

SMOL. [Laughs heartily] Oh! I see! And you are his mother? 

DOR. The only one he has and a precious trouble he is too, I can tell 
you always losing his buttons! 

SMOL. You Colonists! 

DOR. Americans, please! 

SMOL. Beg pardon. Americans are singular people! 

DOR. Strange! That's exactly what we think of you English! 

SMOL. I dare say, but I have failed to find in England the case of a 
daughter being mother to her own father! 

DOR. Quite a common thing in America! 

SMOL. Really? 

DOR. Really! 

SMOL. Humph! Miss Foxglove, I'm an orphan! 

DOR. You look it! 



"THE MINUTE MEN" 53 

SMOL. Do I really? 

DOR. You do, really! 

SMOL. Would you mind twins? 

DOR. Lieutenant! 

SMOL. [Quickly] No! No! No! I don't mean that that but would you 
mind being a mother to me? I never thought of it before but now that you've 
put it into my head I believe I need a mother! 

DOR. I believe you do! 

SMOL. I'm sure I do. And then think what a large circle of relatives we 
should have and all within ourselves, as I may say! You would be your 
husband's mother and I'd be my wife's son and my father-in-law's father 
and he'd be his son-in-law's son and father-in-law's son's mother sisters e 
e at all events we should be quite a snug family party, don't you think so? 

DOR. And when you were naughty boys, I could punish you both and 
put you to bed, eh? 

SMOL. That would be charming, I'm sure! 

DOR. But Lieutenant! Won't it be rather awkward when this war breaks 
out, to have my two children fight against each other? 

SMOL. Dear Miss Foxglove, there will be no war! 

DOR. What makes you think so? 

SMOL. The Colonists. 

DOR. Americans! [Looking at him correctingly\ 

SMOL. Americans [Bowing] will never think of resisting when the power- 
ful armies of England are sent against them. It would be a useless slaughter 
of brave men. Your leaders will think better of it. Fight? What for? 

DOR. Liberty! The grandest word ever uttered by the tongue of man! I 
tell you, Lieutenant, you have to fight for everything you get in this world. 
We Colonists, as you call us, have fought the savages for our land, the land 
inch by inch for our crops the hungry wolves and prowling bears for our 
bleating sheep and their innocent lambs and now we'll fight the King's 
soldiers for that most priceless of God's gifts Liberty and think it cheaply 
purchased by the best blood of our country! 

SMOL. [Amazed] Good gracious, Miss Foxglove, I had no intention of 
wounding your feelings. I assure you I am extremely sorry. I was wrong 
to 

DOR. And I, Lieutenant pardon me. I should not allow my feelings to 
carry me away. I am thoroughly American that must be my excuse for 
this breach of politeness, to say the least. You are an Englishman and our 
guest. [He bows. She changes her manner and breads into a laugh] But it's 



54 JAMES A. HERNE 

all the fault of that jackknife! Take it back. I never wish to see it again. 
[He ta\es it] Am I forgiven? 

SMOL. Freely! Dear Miss Foxglove! 

DOR. And now let us dismiss a subject that never should have been 
broached between us! 

SMOL. With all my heart! What an unique medallion that is you have! 
[Points to locket] English, is it not? 

DOR. [Hastily, covering it with both hands and rising} I do not know. It 
was, I believe, my mother's. In it is all I have ever known of her. I prize it 
so dearly, that I seldom wear it. [The chain has broken as she clutched it and 
comes off her necJ(\ 

SMOL. There! You've broken the chain all my fault how stupid of me! 

DOR. Oh! that's nothing. The chain is very slight. I'll put it on a ribbon 
presently! [Puts it in pocket] Speaking of ribbons, reminds me that I have 
not decorated you yet! 

SMOL. Oh! I am to be decorated? What for, pray? 

DOR. Gallant conduct in the field! [Pinning apple paring on his left 
breast] That's for polishing the silver. [Puts one on right breast} That's for 
cleaning the windows so nicely! 

SMOL. You are too good! [Dubiously] 

DOR. [Putting one on left ear] That's for being the dear, good-natured, 
courteous gentleman that you are. 

SMOL. [Pleased] Thank you! 

DOR. [Putting one on right ear] And this, wear as the colors of your lady, 
whose beauty you are to defend against all comers! 

SMOL. Believe me, I will prize the last beyond all else in life! 

DOR. There! Now stand up! [He does so] And let me see how you look 
on dress parade! [He has the pan of apples. She puts him in position} Atten- 
tion! Heads up! [Reuben comes on at back} Forward march! [They march 
down stairs} File left! [They do so] File left! [They do so] 

REU. [At back} Halt! [They stop suddenly and all laugh} Dorothy, you 
was a film' left with the wrong foot! 

SMOL. I dare say I look quite ridiculous, Mr. Foxglove! 

REU. Yes, quite but I've been there myself! 

DOR. Reuben Foxglove, don't you interfere with my army! We are just 
going to make the pies, aren't we, Lieutenant? 

SMOL. Yes, certainly, anything to oblige! 

DOR. And the Lieutenant is going to help me with the crust. So please 
don't bother us now. [About to go, loo^s at Reuben, sees button off his coat} 
Oh! Good gracious! Oh! Dear me! [Thrusts her bowl hastily into Smollet's 



"THE MINUTE MEN" 55 

fan] Hold that! [Runs to Reuben] Now, Reuben Foxglove, where's that 
button? [Talfe breathlessly, shading her head at him. At same time takes 
threaded needle and thimble from quaint bag at her side] Oh! Dear! Dear! 
What a boy you are for losing buttons! When you left home this morning, 
every button was in its place, and you come to me now with the most promi- 
nent one gone, for gone I'm sure it is. You're never on speaking terms with 
any of them. They leave you 

REU. [ Who has quietly taJ^en button from pocket] On the slightest provo- 
cation. Only this one [Handing it] I managed to ketch jest as he was a'sneak- 
in' off the last thread! 

DOR. Give it to me, stupid boy! [Dorothy's music pp. till Sir Frederic}^ 
on and off, then change to lively to bring Winslow's party on] Sit down. 
[Seats him on old plow. Kneels in front of him and sews button playing 
scene over shoulder at Lieutenant] Tired, Lieutenant? 

SMOL. Not at all. Quite a recreation, I assure you. 

REU. Say, Dorothy, hain't yeou an' him rather chummy for a rebel and 
a Britisher? 

DOR. He's perfectly harmless, aren't you, Lieutenant? 

SMOL. [Who has not heard what she said] Yes! Yes! Certainly! [All 
laugh. Sir Frederic}^ Shelton, a fine-looking, middle-aged English gentleman, 
very elegant, very dignified, in undress of Colonel of Grenadiers, strolls on 
quietly; stops; views the position of the parties in some amazement. By this 
time Dorothy has finished button and rises] 

DOR. [Putting things in bag] There you are all right and tight, once 
more! Now, Lieutenant [Going towards him, sees Sir Frederic^. Stops and 
curtseys very low] Sir Frederick, your most obedient! [Sir Frederic^ ac- 
fynowledges salute] 

SMOL. Sir Frederick who what? [Turns and sees him] The Devil! 
I beg pardon, sir. The fact is I she you [Confusedly endeavoring to 
salute, etc.] 

DOR. There, there! Don't stammer. [Goes to him, rights the bowl and 
pan} The fact is, Sir Frederick, I've enlisted him in the domestic brigade till 
roll call, when I'll return him to you right side up with care. Attention! 
[Slips arm through Smollet's arm] Forward! [Marches him into house and 
off LM. laughing heartily, in which Reuben joins. Sir Frederic^ follows, 
looking after them good-naturedly, then comes down C.] 

SiRp. [To Reuben, who has dropped down R. After a pause, slowly] 
Your daughter? 

REU. [Looking at him suspiciously] Ye-e-s! 

SiRp. May I ask her age? 



56 JAMES A. HERNE 

REU. [Same manner] Nineteen! 

SIR P. Her mother 

REU. Died when she was a baby. 

SiRp. And you have brought her up? 

REU. [As before] Ye-e-s! 

SIR P. She has attended school? [Smollet with dress arranged enters and 
remains respectfully at bac](\ 

REU. Ye-e-s somewhat. 

SIR F. She seems a charming girl! 

REU. She is! 

SIR P. She must be a blessing to you! 

REU. She is! 

SmF. A very charming girl! 

REU. Ye-e-s! [Sir Frederic^ bows very proudly and goes down stage. 
Reuben bows politely and strolls off at bac\ R. f looking at Sir Frederic}^ as 
ij some dread haunted him. Smollet drops down L. of Sir Frederic^] 

SiRp. Strange how that girl affects me. Her age her likeness to Pshaw! 
Impossible! Poor wronged Agnes [Sadly, then changing to half anger] 
why will that woman always haunt me? She must be she is dead both 
dead no trace of either for nearly twenty years. [Sadly] Dead! But does her 
death atone for the wrong I did her? Alas! No! That can never be atoned. 

SMOL. Miss Foxglove always seems to affect you strangely, Sir Frederick. 

SiRp. [Starting, as ij from a reverie] Yes! In my daily intercourse with 
her, I seem to live the past over again; to catch a glimpse of that Heaven 
which might have been mine, had I not wantonly closed my doors against 
an angel's love! 

DOR. [From house, running on backwards, speaking as she enters. Runs 
against Sir Frederic!^ and Smollet, and off at bac\ RJHf. Jumping and clap- 
ping hands with glee] Here they come! Here they come! Mrs. Campbell! 
Father! Where are you? I'm so happy I can't contain myself! They're com- 
ing, I tell you! I must be the first to meet them! Rachel! Rachel! Don't 
speak to anyone till I've kissed you. [Runs off] 

ANN. [Who has hurried on through dairy] Mercy on us! That gal's 
enough to give one the hystericks! 

SmF. Who is coming, may I ask? 

ANN. The Captain and Rachel, I suppose, by the way she goes on! [Goes 
up; loo](s off R.] Yes, there they be, sure as a gun! 

SiRp. [To Smollet] I shall be glad to shake the hand of my old com- 
rade and thank him for his hospitality. Let us retire for the present, however, 
lest we mar the welcome these good people have prepared. [They exeunt 



"THE MINUTE MEN" 57 

R.iJE. Music changes to lively air. Enter from R. at bac\, Captain Winslow, 
leaning on the arm of Roanoke, the Captain a darf(, little old man, with 
white military whiskers; semi-military in dress and wholly so in manner; 
lame in right leg; carries a cane. Ann Campbell wipes old-fashioned chair 
and places it R.C. for him. Rachel and Dorothy come, arms around eat,h 
other's waists f drop L.C. Reuben and Ned follow Ned in handsome hunting 
costume. They join ladies. The entrance all animation. All tal\ togethet 
till Captain is seated and stage dressed] 

CAPT. [As he enters] Thank ye. Thank ye. I'm as glad to get home a.* 
you are to see me, I'm sure! 

ANN. [As they enter] Well, well, sakes alive, if they ain't jest as nat'ral 
as life! 

DOR. [As she enters] Oh, Rachel, I'm so happy! I've got so much to tell 
you! 

RACH. [As she enters] Dear old Dorothy, it seems as if I had not seen 
you for an age! 

REU. [As he enters] Well, I hope you'll make yourself to hum. No cere- 
mony wanted here! 

NED. [As he enters] Thank you! Thank you! I'm sure! 

CAPT. What a demonstration to be sure! One would think we had re- 
turned from a trip to the Antipodes! Well, I must say it is pleasant to be 
welcome even in one's own home. [Taking chair and Anns hand] Mrs. 
Campbell, I hope Reuben has been civil to you during my absence! 

ANN. Civil! I'd like to catch him bein' anything else to me! Captain, 
the sight on ye is good for sore eyes! [Goes to place and is introduced to 
Ned. Curtseys] 

CAPT. Reuben, old friend, how go things with you? 

REU. I jog along about the same old sixpence, Captain, sometimes walk- 
ing on the balance on foot! 

CAPT. And Roanoke! My faithful Roanoke! I've missed you sadly, boy 
I don't know why only that I love to look on your bright, manly face 
and the day seemed to lack something without it. I hope Dorothy has been 
behaving herself. Here, Dorothy, you mischievous puss, come and give me 
another kiss. [She does so] I hope you have not been breaking poor 
Roanoke's heart! 

DOR. Roanoke knows me too well to mind my idle pranks. [Crosses to 
Roanoke and, giving him her hand f seriously] I could not wound the thing 
I love and I love [Checking herself] we all love Roanoke! 

ROAN. White Captain, the little Primrose grows in the path of Roanoke. 
Its scent fills the air of his life. He is happy. [He has ta\en her right hand in 



58 JAMES A. HERNE 

his right, flaced his left arm around her waist and almost drawn her to his 
breast. She yields, then suddenly but not urgently checks the impulse'} 

DOR. Isn't Mr. Wynthrop handsome? [Military music behind scenes, dis- 
tant, \ept up till cue to cease. Roano^e loo\s into her face for a moment, 
drops her hand, she crosses to her former position. At same instant an orderly 
enters -from R.iJE. and salutes] 

ORDERLY. Captain Winslow? 

CAPT. [Saluting] I have that honor. [Orderly marches up to him, salutes, 
gives paper, -faces about. Marches bac\ to place, -faces about, awaits orders. 
Captain reads written letter] "Sir Frederick Shelton presents his compliments 
to Captain Winslow and politely requests him, if not too fatigued, to wit- 
ness regimental drill of His Majesty's Grenadiers, after which Sir Frederick 
will do himself the honor of dining with his old comrade and friend." [To 
Orderly] I shall attend Sir Frederick's pleasure say so. [Orderly salutes, faces 
and marches off] Reuben and Roanoke, I shall need your assistance. This in- 
fernal fighting leg of mine, you know! Mr. Wynthrop, will you accompany 
us? 

NED. Thank you, Captain! No! His Majesty's soldiers have no charm for 
me at present, though they may have later on! 

CAPT. Ah, Rebel, take care! I leave Rachel and Dorothy to entertain you 
till I return. [Bows and exits, ER. leaning on Roanoke and accompanied by 
Reuben] 

ANN. Ef you'll excuse me, I'll give the finishin' touches to the table. [Exit 
through dairy] 

DOR. And my pies forgotten in the oven. I'll bet a cookie they're burnt 
to a cinder. [Goes up to door, then down to Rachel. Aside] He's handsomer 
than Mr. Hampton. I love a handsome man. You go right ahead. If anyone 
comes, I'll cough. Ahem! See? [By-play between her and Rachel. She 
chuckles and exits into house and off L.] 

NED. This is indeed a charming spot, Miss Winslow. [He offers arm. She 
ta\es it. They stroll and finally Rachel seats herself on rustic seat L J/.] I can 
now understand your glowing eulogisms on your Massachusetts home. Were 
you born here, may I ask? 

RACK. Yes beneath that roof my brother Harry and I entered and our 
dear mother left, this world. I have known and wish to know no other 
home. 

NED. Your brother was your elder, I believe? 

RACK. Three years. 

NED. He suddenly and mysteriously disappeared, your father told me. 



"THE MINUTE MEN" 59 

RACH. Yes. My father was absent with his regiment at the time, my 
mother an invalid, and I a baby by her side. 

NED. Was his fate never learned? 

RACH. Oh, yes! Mr. Hampton, who made the most strenuous exertions 
in our behalf, brought incontestable proofs that he had been stolen and mur- 
dered by a band of Mohawk Indians who committed many depredations 
in this vicinity about that time. My poor mother never spoke after the news 
was broken to her. She passed silently away, I hope, to join the boy she loved 
so dearly. 

NED. Mr. Hampton! Humph! It is he, I think your father also told me, 
who by your uncle's will inherits the estate which should have been your 
brother's had he lived. 

RACH. Yes. He is my father's cousin. 

NED. And a claimant for your hand? 

RACH. [Hanging her head] He has asked my father for my hand. 

NED. And you? 

RACH. Have promised to marry him. 

NED. May I ask if you love him? 

RACH. [Rising] Mr. Wynthrop! 

NED. Pardon. Did it never occur to you that Mr. Hampton might be inter- 
ested in your brother's death? 

RACH. You go too far, sir. 

NED. Again your pardon. Stranger things have been known. 

RACH. I must not listen to you, sir! 

NED. I crave one moment. I have thought that were there a way out of 
this marriage you would avail yourself of it. Is it so? 

RACH. By what right do you ask ? 

NED. The right an honest man has to undo a wrong. Listen to a little ro- 
mance. [Seats her] Once upon a time there lived two children, a boy and a 
girl, both motherless, who, thrown much together, learned to love each other 
as only children can, and in the impulses of their fresh young hearts plighted 
their youthful troths, vowing that nothing but death should separate them 
that if they lived they should become man and wife. The boy's father died, 
and cruel fate bound him to a crueller master in the form of one Dyke Hamp- 
ton. One outrage succeeded another, until at last, stung beyond endurance, 
the boy dared to resent an infamous wrong and was, for his bravery, felled to 
the earth by a blow from his brutal master. Crushed, bleeding, but not sub- 
dued, the boy crept silently away into the shadows of the night and was seen 
no more, but before he went he sent a message to his baby bride telling her 
that if he lived he would sure return. 



60 JAMES A. HERNE 

RACH. [Who has slowly risen, having drun\ in every word he uttered, with 
a wild cry] Man! Man! Who are you? 

NED. Ned Farnsworth. [She shrieks and jails into his arms] Your boy 
lover! [Military music ceases] 

RACK. Ned! My Ned! 

DOR. [Entering hurriedly from house} What's the matter? Doctor pulling 
your tooth? [Ta\esin the situation] Excuse me my pies are burning! [Exit 
hurriedly into house again] 

RACH. Ned, why did you not tell? 

NED. Because the time had not come. Nor must I now be known by any 
here save as Mr. Wynthrop, your accidental friend. But Rachel, the day is far 
distant when Dyke Hampton calls wife the woman who pledged her baby 
troth to Ned Farnsworth. [Enter Sergeant and file of Soldiers. When they 
are in position] 

SERG. Halt! [They do so] Front! [They do so] Present! [Enter Sir Fred- 
ericl^ in full dress and Winslow, arm in arm, followed by Smollet in full 
dress, Reuben and Roanafye as they pass on] Recover! [They do so] Right 
face! [They do so] Forward, by file right, march! [Men march off] 

CAPT. Wynthrop, you missed a grand sight! It does an old soldier's heart 
good to witness such discipline and precision. Rachel, girl, welcome my old 
friend, Sir Frederick Shelton. My daughter, Sir Frederick. [They bow. Dor- 
othy's music till end of act r very piano at first, worlds with scene] 

RACH. [Crossing, taking Sir Fredericks hand] Proud to meet any friend 
of my father's, sir. 

CAPT. [Introducing] Mr. Wynthrop, my Galen of the forest. [They bow] 
Daughter, Lieutenant Smollet. [They bow] Mr. Wynthrop. [Smollet and 
Ned bow] Rachel, give your arm to Sir Frederick. The Lieutenant will fol- 
low. Wynthrop and myself will bring up the rear and so far 

DOR. [Appearing on steps, locket on necJ^ on ribbon] Supper! [All laugh. 
Rachel gives arm to Sir Frederic^. Ned passes over to Winslow. Smollet 
crosses up behind Winslow. General movement. As Sir Frederic^ goes up he 
\eeps his eyes on Dorothy. As he nears her he sees loc\et t stands transfixed, 
then slowly retreats with bac\ to audience seems to half faint. Smollet rushes 
to him, placing chair. He sin^s into it. Ned goes to Rachel. All advance] 

SmF. [Recovering himself, speaking slowly and in hoarse whisper] In 
God's name, girl how came you by that locket? 

DOR. It was clasped around my neck when Reuben found me placed 
there, as I believe and hope, by my mother before she died. 
SmF. [Same tone] Why have I not seen it before? 



"THE MINUTE MEN" 61 

DOR. I never wear it but on holidays and Sundays. It is too sacred for 
every day. [Half frightened by his manner] Why do you look at me so 
strangely? You frighten me! Reuben! Roanoke! [Roano\e springs down R. 
She crosses quickly to him and shelters herself in his arms. Reuben drops 
down also] 

SmF. Found Reuben found. Are you not then his child? 

REU. In all that makes her so cept'n blood an' that's better done a'thout 
sometimes. 

SIR F. If not your child, whose is she ? 

REU. God's, I reckon. Leastwise, he give her to me! 

SIR F. [In whisper as before] Her story! 

REU. One terrible snowy night, eighteen years ago, after buildin' a big 
fire on my hearth, I went as usual to bait and set my traps. When I got back 
I found my cabin door open the wind, I reckon, had undid the latch. I en- 
tered an' right on the hearth afore the fire I see suthin' a'shinin' bright an' 
yaller jest like gold. I stooped to pick it up, an' it was hair bright, golden, 
shiny hair an' there was this child this angel baby a'lyin' on my cabin 
floor an' sleepin' as gently an* as peacefully as if she was a nussin' from her 
mother's breast. 

SIR F. [Almost overcome with grief and excitement, as before] Go on! 

REU. I will. [Wipes eyes] At fust I kinder conjured as how some one must 
a'left her there, an' I stepped to the door to look around. It had stopped 
snowin' an* the moon was a'shinin' bright as day not a sound 'cept the 
howlin' o* the wolves. I was about to close the door agin when I see the baby's 
footsteps in the snow. I follered 'em, an' a thin ten paces came on the form of 
a woman lyin' in the snow. She was dead. Then I see it all. The woman had 
got lost in the storm. She tried to reach my cabin fell exhausted the child 
must a' rolled from her arms an*,, baby like, attracted by the light, toddled to 
my door. Heaven opened it for her she crept in the warm fire lulled her to 
sleep an' there I found her! [During this scene, Dorothy has crept to him, 
sobbing and almost buried herself in his bosom] 

SiRp. [As before] And that locket was clasped around her neck? 

REU. Yes! 

SmF. Have you ever opened it? 

REU. Tried to, but couldn't. Allus thought there wan't no openin' to it. 

SmF. Let me see it! 

DOR. [Clasping it with both hands} No no you shall not! 

SiRF. [Gently] Fear nothing, child. I will restore it. 



6 2 JAMES A. HERNE 

REU. [Half afraid] Let him see it, Dorothy. No harm can come to it. [He 
gently unties it from her nec{ and passes it to Sir Frederic^, who rolls it over 
in his hand and it opens] 

SIR?. [Springing up with a wild scream} See! My marriage certificate! 
Her mother's likeness! She is my child! 

ALL. Your child! 

DOR. [Screams and clings to Reuben} No! No! Don't listen, Reuben! 
He's mad! Here is my father! You'll break his heart you'll kill me. Give me 
back my locket. Shut it up! [Springs towards Sir Frederic^] Reuben! Roa- 
noke! Don't let him take me! I Oh! Ha ha ha! [Screams laughs hys- 
terically and jails in Reubens arms as curtain descends} 

PICTURE AND END OF ACT I. 

ACT II. 

^Descriptive music" to ta\e up curtain) 

TIME: April 7775. 

SCENE i : Dorchester Heights. Interior of old-fashioned fytchen, roofed; with 
large old-fashioned fireplace, crane, log fire, etc. Heavy beams or rafters on 
which are hung dried apples, tufts of herbs, bunches of onions, croo^-nec^ 
squash, bell peppers, etc. Everything about this scene furniture, pots, pans, 
dishes, etc., must be historically correct. Same backing as Act I. At 
Rise: Evening. Scene lighted wholly by fire-log. Towards end of Act it 
grows dar\ outside and moon rises. Ann Campbell discovered washing dishes 
in (smoking) hot water. She pays no attention to scene. After she has finished 
the dishes she carries them off R. door. Returns, wipes up table, takes dish- 
pan, etc. and exits R.D. Returns after a bit with lighted candle and exits up 
the stairs as if to go to bed. Rachel is spinning. Captain Winslow smoking 
pipe. He is very careworn and smokes slowly and thoughtfully. Dy^e Hamp- 
ton is seated cross-legged on chair with its bac\ in front of him he is dressed 
as before with addition of top coat. He is in the act of receiving papers from 
Captain Winslow. 

DYKE. I am glad the accounts are correct. My father, during his life, left 
undone nothing that in his judgment would enhance your interests; and I as 
his successor, have, I trust, been fully as vigilant. Yet, in spite of all, we have 
not succeeded so well as we could have wished. 

CAPT. You have succeeded in leaving me a beggar! 

DYKE. Captain I 



"THE MINUTE MEN" 63 

CAPT. You say the Van Orten suit has been decided against me? 

DYKE, [Slowly, as if loathe to admit it} Y-e-s! 

CAPT. And that tomorrow he will claim this, my last bit of property? 

DYKE. Unless certain conditions can be met! 

CAPT. Which you know I cannot meet! 

DYKE. Not without assistance I am aware. 

CAPT. Dyke I don't say that my property has been wrongfully managed. 
It is too late for that now. But it is singular that while I have grown steadily 
poor, you have grown as steadily rich. 

DYKE. Do you blame me for having prospered ? 

CAPT. I blame no one I say it's strange, that's all. 

DYKE. You forget that my cousin, your brother, added materially to my 
worldly store! 

CAPT. Poor Edward basely deceived by the only woman he ever loved, 
he could not forgive my daughter's birth. Had he ever looked into her face, 
he had not been so cruel in his will. 

DYKE. I will not say that he was altogether just. The fact remains never- 
theless that your son dead the property comes to me. I, therefore, should 
be wrong to quarrel with the memory of the giver. I can, however, correct his 
error. Let this marriage between Rachel and myself take place at once and 
half your brother's estate is yours. [Weird pathetic music now till Dy%e off 
and Reuben on] 

CAPT. You ask me to sell my own flesh and blood? 

DYKE. No! Your word and hers are both pledged to the union and 
[Humbly] am I not worthy of her? [With passionate intensity] I tell you I 
love your daughter with a passion beyond the conception of other men I 
would for her sake 

RACH. [Looking up, smiling sadly, with chee^ on hand, leaning on the tyiee 
of her father] Be generous ? 

DYKE. [As if avoiding a trap] How generous? 

RACK. Give me up! [Same tone] 

DYKE. Do you love another? [Slowly, passionately, almost between his 
teeth] 

RACK. [Droops head and says quietly] We are never masters of our own 
hearts! 

DYKE. [Springing up with violent passion overturning chair and raising 
aloft clenched hand in which he holds whip] Then by God I'll kill him! 
[Rachel, who has sprung up and clung about her father's nec\, utters a 
smothered scream and hides her face] 



64 JAMES A. HERNE 

CAPT. [Who has risen at same time, says sternly and with his old dignity 
and fire] Hampton you forget yourself! 

DYKE. [Recovering and trembling with excitement} YesImy feelings 
forgive me I'll leave you a gallop across the hills will compose me. 
[Crosses to LH. door} I'm unstrung. [Turns and speaks moodily} Rachel 
you are a woman and I ask you to pity me from a woman's heart. For some- 
thing tells me that my love for you is the chain that will yet drag me down 
to infamy and eternal damnation. Don't judge me wrongfully. I value wealth 
only as it serves to bind you to me with you I might be [Almost tempted 
to betray all he knows, then checks himself} I cannot say without you, I 
know I shall be a Devil You ask me to give you up. Well, what then, to an- 
other? [Through teeth] No! Never! [Change] That is I'm afraid I could 
not [With moody ferocity] Don't tempt me. I tremble for you. I tremble for 
him. I tremble for myself. I'll go now pardon me. [Gets near door, then 
turns] I love you, Rachel. [Loo{s earnestly at her] Good-night. [Exit. Rachel 
pale and calm on her father's breast. He looking after Dyfy- Picture. Pause] 

RACH. [Coldly] Father I'll marry Dyke. 

CAPT, Do you love him ? 

RACH. No! But I fear him I must save him I must save you I must 
save 

CAPT. [Reading her thoughts] Wynthrop? 

RACH. [Same tone] Yes. 

CAPT. You love Wynthrop? 

RACH. Else I'd never marry Hampton! 

CAPT. Will Wynthrop consent to this ? 

RACH. He must he will. He loves me! 

CAPT. [Bitterly] And yet he deserts you! Disappears in the dead of night, 
leaving no word, no token, and is as utterly lost to you as if the earth had 
opened and swallowed him! 

RACH. He will return and if not it were better so. 

CAPT. My poor child I fear I have been much to blame in all this. I never 
should 

RACH. There, father let us talk no more tonight. I am weary. Tomorrow, 
perhaps 

CAPT. Perhaps 

RACH. Good-night. [Kisses him tenderly] 

CAPT. Good-night. [Kissing her. She goes to door, turns, loo\s at him, 
smiles] 

RACH. Good-night! [She exits. Captain loo\s after her, thin\s a moment, 
goes to fireplace, throws pipe into fire, puts hands into breeches pockets. 



"THE MINUTE MEN" 65 

Crosses down to RJH. corner, turns and meets Reuben and RoanoJ(e, who 
have entered from LH. door. Reuben throws himself on settee; Roanofe 
crosses and throws himself into upper seat in chimney corner. Reuben and 
Roano\e very dejected. Music dies away] 

CAPT. Been to the city again, eh, Reuben? You quite live there now! 

REU. Well, what's the use'n a feller distributin' himself around in pieces. 
My heart's over there an' I dunno's I care much what comes o' the rest o' 
me! 

CAPT. Seen Dorothy ? 

REU. Yesterday. Shouldn't a' come back ef I hadn't. 

CAPT. Well? 

REU. Well they'r goin' to send her to England to be eddicated. 

CAPT. Sir Frederick has established his claim, then? 

REU. Yes. All the papers have arrove from England, an' they've setded 
that he is her father and entitled to her custody. [Dorothy's music begins] 

CAPT. Was the mystery of the mother cleared up? 

REU. Yes! It appears that Sir Frederick fell in love with her mother who 
was what they call over there, of low birth, for her purty face. After they was 
married he was ashamed of her his family refused to hev anything to do 
with her and so he pensioned her off in a leetle seaport town, an' then 
neglected her. After Dorothy's birth, failin' to get any satisfaction even for 
her baby, she concluded to leave him and England forever, sellin' what few 
trinkets she had. She managed to get to America, an' after sufferin' God 
knows what, died, as we all know. An' now they'r a'goin' to send Dorothy 
over for some other Lord knows who to do the same by her! Dorothy says 
I must be patient an' it'll come out all right in the end. I try to be an' I hope 
I shell be, but I tell ye, Captain, it's pretty hard to ring a hog's nose a'thout 
the hog's a'squalin'! 

DOR. [Putting head in R. door] Anybody at home? May I come in? [En- 
ters with a clear ringing laugh} 

ALL. [Rising] Dorothy! 

DOR. [Entering life a sunbeam] Yes, the same old Dorothy. [She is ele- 
gantly attired, wears locket] In a little handsomer frame, perhaps, but I hope 
that doesn't alter the picture. They wanted to change my name as well as my 
dress, but I told them that Dorothy I was and Dorothy I would remain to 
the end of the chapter! [They all stand silent] Why, what's the matter with 
you all? [Laughs] Not afraid I've brought the plague with me, are you? 
Captain, aren't you glad to see me? 

CAPT. Why, Lady Shelton! [Half jesting] 



66 JAMES A. HERNE 

DOR. [Laughing] Lady Fiddlesticks. HcrG~[Shafas hands] call me Doro- 
thy and say you are glad to see me if you don't want to be cashiered for neg- 
lect of duty! 

CAPT. [Laughing and shading hands} Dorothy, I am glad to see you! 

DOR. That is a little more like it! [He is about to drop her hand] Here! 
Here! Here! [Puts up lips to be \issed. He pisses her. They both laugh] 
Now, Roanoke [Her manner changing to Roanoke, who has crossed down 
RH., offering his hand, which she ta\es] What have you to say? 

ROAN. Only that the heart of Roanoke is sad, for he knows that another 
land than that which gave him birth claims the Little Primrose for its own, 
and that the tall ship will soon spread its white wings to bear her afar over 
the bosom of the mighty water, where she will be lost to him forever. 

DOR. \Loo\s at him sadly tries to spea\ she cannot. Her eyes fill with 
tears. She drops his hand and her head, surreptitiously brushes a tear from her 
eye f then quickly turns, all smiles, to Reuben. Roanoke goes bac\ to fireplace] 
And there's my boy looking as if he'd lost every friend he had in the world! 
[Laughs] Here, Reuben kiss your mother! [He does so] Do you call that a 
kiss you naughty boy! There! [Kissing him] And there! [Kissing him] 
And there! [Kissing him laughs] Now let me see if your buttons are all 
right. [LooJ(s him over] Yes, for once I declare all right! Who will take 
care of you when I'm gone, I wonder? I'm afraid you'll go buttonless to bed 
many a night, my poor boy with no Dorothy to [Tries to laugh. Loofys up 
at him, sees a tear on his chee\, ta\es his face in both her hands, pisses the 
tear away and nestles to him in the old, old way] Reuben, don't don't cry 
speak to me! Hold me in your arms as you used to do when I was a little 
child and there was no other father to come between us. Help me to be brave. 
Reuben, don't you see that I am trying so hard that I am not happy ? That 
I am only pretending? That my heart is breaking? [Bursts into tears gives 
up entirely and sobs on his breast. Enter Sir Frederic^ in military cloa\. Stops 
at door] 

SmF. You forget, child, that you are my daughter! 

REU. [Still holding her] Forgettin' seems to run into the family, Sir Fred- 
erick. You forgot her mother was your wife. 

SmF. [Wincing] I committed a grievous sin! I have never ceased to re- 
pent it! I shall do my best to repair the wrong I did the mother by justice to 
the child. 

REU. It's a kind o' pity ye can't repair one wrong a'thout doin' another, 
hain't it? Pity it couldn't a been done years ago, afore the little tender vine 
had twined itself in an' out around the limbs an' branches of the old oak till 
they became one. Ye must chop down the oak now to free the vine. 



"THE MINUTE MEN" 67 

SmF. [Abashed] I shall settle a fine allowance on you. You shall be well 
paid for all your care and trouble. 

REU. There's some things that can't be paid for, an' love's one on 'em. 

SIR F. [ Trying to excuse himself It is for the girl's good wealth, station, 
name would you deprive her of all these? 

REU. No. You have the right to take her, an' it's for her good that she 
goes. The last's the argyment that silences me. I hain't a'goin' to stand agin 
that. 

SIR F. 'Tis useless to prolong a scene painful to us all. To me, whose sin 
has been its cause, more painful than to any here! Captain Winslow [Tap- 
ing his hand] pardon me. I leave my daughter with you till the morrow, 
when I will either call or send for her. Duty demands my immediate de- 
parture. Good-night. 

CAPT. Good-night. 

SmF. [Going, turns, loo^s sadly at Reuben and Dorothy, says fondly but 
with much dignity] Good-night, Mr. Foxglove. [Exit. The moon has slowly 
risen by this time. It lights the exterior; the fire, the interior] 

RACH. [Entering from RDJ\ Father, there is [Sees the group. Her eyes 
catch a glimpse of Dorothy. She springs forward] Dorothy! 

REU. [Staying her] Hush! She's sobbed herself to sleep! Ef you don't 
mind, I'll set here an* hold her awhile. She's dreamin', mebbe, anil be glad 
to find herself in my arms when she wakes. [Tafyes her in arms and sits on 
settee with her head on his breast. Music changes. Enter DyJ^e Hampton, pale 
and haggard, his dress awry, hair dishevelled. Has the appearance of a man 
who has ridden hard and had a terrible struggle with himself. He does not 
notice Reuben, RoanoJ^e or Dorothy. Rachel loot(s frightened; Captain sur- 
prised. Dyke stops at door as if afraid she would not be there] 

DYKE. [Speaks hurriedly and with passionate effort to be calm] Rachel 
Winslow, I rode from this spot resolved never to see you again. I rode hard. 
I struggled fearfully with myself. But as I spurred my panting horse into the 
thickness of the night, I seemed to see you in another's arms. At the sight all 
the fiends of darkness seized my struggling soul. I struggled longer, in vain. 
I turned my horse's head and lashed him on. He lies dying at your door. I 
entered fearful lest I should find my vision true. I cannot I will not, give 
you up! 

CAPT. Dyke Hampton, listen to me! 

DYKE. Captain Winslow listen to me! [Furiously] She loves this Wyn- 
throp! I know it now, and so do you! [The Captain is ta\en abac\ at this] 
Your word is pledged to me. Keep it. Give her to me or tomorrow sees her 
homeless and you a beggar! [As Dy\e comes down, Reuben lays Dorothy on 



68 JAMES A. HERNE 

settee motions to Roano^e, who comes down noiselessly. Reuben commits 
Dorothy to his care and quietly exits] 

CAPT. [Almost paralyzed, doubting how to act or what to say] I I 

RACK. [Calmly] Father, let me speak. [Crosses to Dy{e] Dyke Hampton, 
1 do love Mr. Wynthrop. You, I never can love! Take me but as I am and 
I will become your wife. 

DYKE. [Amazed, springs towards her} Rachel! 

CAPT. [Turning her around] No! I'll be damned if you do! I am an old 
man, worn out, it may be, with hard service, but hand in hand we'll go forth 
into the world. You shall not give your hand to one man while your heart is 
wedded to another. 

DYKE. [ Worked up to a paroxysm of rage and disappointment} Then go 
forth to beg to starve for, by my soul, you sleep not another night under 
this roof. I might have guessed as much when that canting, hypocritical 
scoundrel became your guest! A man of whom no one knows aught who is, 
if the truth were known, a fugitive before the law hiding in the dark, afraid 
to show his face in the broad light of day! 

NED. [Springing through door} You lie, you hound you lie! 

RACK. [Rushing to him] Ned! 

CAPT. and DYKE. [Astonished} Ned? 

NED. Yes! Ned Farnsworth! [DyJ(e staggers bac\, thunderstruck} Do you 
know me now, you craven cur? The boy your coward hand struck to the 
earth from whom has sprung the avenging man to pay you back ten-fold 
the blow you gave, and who will not rest till your foul carcass swings from 
the gallows tree! Murderer! 

ALL. Murderer? 

DYKE. [Livid with rage} Take care 

NED. Yes, murderer the murderer of this old man's son! 

CAPT. Merciful Heaven, can this be true ? [About to fall. Ned and Rachel 
run to him} 

NED. Look to your father. [As Ned turns his bac\, Dyfe quickly draws 
pistol and fires at Ned. Roano\e, who has been watching him, seizes his arm, 
the pistol is discharged in the air. Dorothy awa\es is dazed. Reuben enters 
hastily f carrying gun speaks in loud whisper. Change music and J^eep up 
till end of scene} 

REU. Silence, every one an* ye! Eight hundred British soldiers under Pit- 
cairn are a'marchin' to seize the stores an' ammunition at Concord see 
[Points. All the characters, who have stopped in exactly the positions they 
were in when he entered, now crane forward without moving their bodies, to 
see. The moon is now very bright, and the British soldiers are seen marching 



"THE MINUTE MEN" 69 

silently fast window from R. to L. Instant's pause} The hour for action has 
come at last. Ned, where's your horse? 

NED. Fastened under the shadow of the great oak. 

REU. Mount like litenin'! Rouse the Minute Men as you go! We must be 
there afore 'em. 

CAPT. Rachel! My gun! [She exits re-enters with gun and powder horn 
gives them} 

DYKE. [Who has been watching his chance, ma^es rush for the door} Ah! 
Rebels! Not yet! Ho! There rebels! 

REU. [Seizes him by the throat} Silence, or yell never speak that word 
again! [Thrusts him bac}(\ Roanoke, take charge of that yelpin' wolf! If he 
moves, strangle him! [Roanoke stands guard with folded arms} The Com- 
mittee of Safety's assembled at the house of Jonas Hundel in West Cam- 
bridge. If surprised they're lost. Who will warn them? 

DOR. [Springing down} I will! 

REU. Brave girl! Mount Brown Winnie. [She starts off R.] Don't spare 
the lash! Ride for your life! 

DOR. [As she exits] I will! 

REU. [Arms aloft] And now, God of Battles, inspire this, the first blow 
for American Independence. [All f^neel except Roanoke and Dy^e. At same 
moment Ann Campbell appears on stairs with gun} 

PICTURE 

Second picture: Dy\e and Roanoke in same position Ann bac\ to audience, 
guarding door with gun, ready Rachel kneeling and clinging to her, but on 
her RH. Close in with SCENE 2 "The Stand at Lexington!' Lexington Green 
in 1775. See historical picture. Enter Reuben marching on twenty men in 
double column, followed by Ned and twenty men in same manner. As they 
reach positions. 

REU. Halt! [They do so] 

NED. Halt! [They do so] 

REU. Ned! Talk to 'em. 

NED. [Stepping to the front] Comrades! The hireling soldiers of an ob- 
stinate and audacious King are at last marching through the peaceful villages 
of Massachusetts to seize by force of arms, confiscate and destroy, our prop- 
erty, invade and lay waste our homes! Not content with depriving us of every 
right granted us by charter, with taxing the very air we breathe, with closing 
our ports, removing our seats of government, quartering his soldiers on our 
people, he has, in a speech to his corrupt ministers in Parliament, declared us 



7 o JAMES A. HERNE 

rebels outlaws and set a price upon the heads of those who dare to resist 
his mandates! To us will belong the imperishable, the priceless honor of re- 
pelling the first advance of those armed marauders, of striking the first blow 
for a Nations life! a blow that will resound from Ocean to Ocean find a 
welcoming echo in every true American heart heal discord cement our 
cause encourage the timid strengthen the brave till the nation, rising as 
one man, will fight while a single arm remains fight till the glorious cause is 
won and the last invading soldier has left our shores! Be firm be true be 
brave and we cannot fail! 

REU. Here they come. Steady! Steady! There's a heap on 'em, but don't 
be skeered! Let them shoot first! Wait for the word but when you do shoot, 
shoot to kill! Steady, I say! [Enter L.i:E. British Grenadiers and Light In- 
fantry, all bayonets fixed. They form L. of stage. NOTE : The Americans have 
all sorts of guns, and not above five with bayonets} 

COL. SMITH. Disperse, ye rebels! Disperse! Throw down your arms and 
disperse! [Dead silence} Fire! [First platoon fires retire. Second taJ^es its 
place. No one falls] Rebels! My soldiers fired over your heads. The next vol- 
ley will be at your hearts! Again I say disperse! [Silence] Ready! [His men 
get ready] Lay down your arms and disperse! [No answer] Fire! [They do 
so and several Americans jail, among them Reuben, who at once springs to 
his feet] 

REU. Fire! [The Americans fire. Several British fall. The Americans re- 
treat, carrying off their dead] 

COL. SMITH. Load! \The men, who have discharged their pieces, now load 
with great precision] I think that's given the Yankees all they care to have. 
About! [They do so] March! [They exeunt L.iJS. The church bells now be- 
gin to ring an alarm. Men, Women and Boys, in all manner of costume, some 
just from the plow, a Blacksmith, etc., etc. some without coats, some with- 
out hats. Some have guns. Blacksmith has sledge, Farmer has axe, etc., etc. 
One Old Man hobbles on, on crutches. An Old Woman gives him a gun and 
powder horn. He hobbles off R. Boy runs on gives Man a gun. Wives and 
Husbands embrace, fyss, etc. Some of the Women go off crying others cling 
to their Husbands others go on to the fight with them all silent and de- 
termined. No confusion. This scene must be dressed, rehearsed and acted 
from pictures. Enter RJH. Dorothy. She has the appearance of having ridden 
all night] 

DOR. Men! Men! For the love of Godhasten! There there [To a 
Woman who has a Baby in her arms and who is clinging about her Hus- 
band's necJ(\ Woman, is this a time to stay your husband? Brave men! Brave 
men! Quick! Quick! On to Concord! Every arm is needed now! [To a Boy 



"THE MINUTE MEN" 71 

who rushes past with a gun] Well done, young hero! Oh, no King George, 
you'll never conquer iron hearts like these! [Distant cannonading] Hark! 
Artillery! They are reinforced. Haste, or all is lost! [Cannonading booming 
bells fife and drum distant musketry, etc., etc.] Quick! To a peerless vic- 
tory or a glorious death! [Hurries them all off and exit RJH. See all ready 
for] 

BATTLE OF CONCORD 

[When in full blast, change to SCENE 3 "The Concord Fight" To be re- 
hearsed and arranged from plates and as will prove most acceptable; prac- 
ticable and effective, and] 

ACT III. 

TIME : June 1775. 

SCENE I : Mystic River. This scene represents a regular log fort. Supposed to 
have been built during the French War as a protection against Indian sur- 
prises. Large logs well chinked with mud. It is roofed and is set so as to show 
exterior action on LH. of stage and is built to burn fall to pieces and blow 
up during action of play. Long rifle over chimney place. Reuben discovered 
in rocking chair, head bandaged. Ann Campbell setting cooking things to 
rights. Characteristic music at rise. 

ANN. There! I think that'll do agin the Captain and Rachel comes! 

REU. Hes the skins arrove? 

ANN. Yes. This mornin'. Mr. Farnsworth ses there's commissary stores 
for a month. He's gone now to fetch the folks. How in the name of Ephriam 
did you find this 'ere place anyhow? 

REU. Didn't find it. It found us. Ned and me's hed to do consid'able skir- 
mishin' o' late an' one night found us in a dense pine wood it was so dark 
you could scursely see yer hand afore ye. We darsn't build no fire afear o' 
Injuns, so we laid down at the foot o' what we supposed was a huge rock to 
wait for daylight. It rained cats an' dogs in the night. In the mornin' we 
found that we'd been a'makin' a dam of ourselves to keep the water from 
runnin' under this 'ere cabin. After cussin' ourselves for a couple o' natural 
born suckers an' findin' the place was deserted, we took possession on't in the 
name of the Continental Congress. 

ANN. I've heard o' folks that didn't know enough to go in out'n the rain, 
but I didn't think you was one on 'em. 

REU. [Laughing} We named it Fort Farnsworth. We've made good use 
of it since. It's a safe place to hide sich ammunition an* stores as we come 



72 JAMES A. HERNE 

across. We've got a bar'l o' gunpowder an' about a ton o' lead under this floor 
now! 

ANN. Mercy on us! Where? 

REU. [Laughing] I thought you wan't a'feared o' powder? 

ANN. No more I hain't, when it comes straight agin me from the inside 
of a gun! But I don't keer to cook my vittals with it. 

REU. There ain't no danger. This 'ere powder's too well brought up not 
to know when to go off! It can tell a Red Coat or a mean Injun as far as you 
can smell a skunk! You can't make it kill a Yankee no how! 

ANN. I wasn't born in the woods to be skeered by an owl but I'll whistle 
Yankee Doodle every time I sweep this floor for all that! 

REU. [Slyly] I wouldn't do that ef I was you the British whistled that 
tune marchin' to Concord an' they run so all-fired fast gittin' back that they 
hadn't breath enough left to whistle fer a dog! 

ANN. Concord! Ef I'd only been there to see it! It's jist like showin' a red 
flag to a mad bull to talk to me about them British! [Things to herself a min- 
ute, then suddenly with both hands on hips] Say, Reuben, I'd like to 'list. 

REU. 'List? 

ANN. Yes 'list! They've called for men hain't they? 

REU. Thirty thousand's got to be riz' in New England 13,000*8 Massa- 
chusetts' share I'm one o' them! 

ANN. An* I'm another! 

REU. You! [Laughs} 

ANN. Yes, me! It won't be the fust time a woman's wore the breeches! 

REU. [Slyly] Did you ever wear 'em, Mrs. Campbell? 

ANN. No! But I kin an' I hain't the only woman that kin an' will ef her 
country's to be served by doin' it! Jist let Congress call for women, an' ef I 
don't raise a rigiment on 'em that'll lick Satan out'n the same number o' Red 
Coats an' make 'em wear petticoats arterwards, my name hain't Ann Camp- 
bell! That's all. [Dorothys music] 

REU. [Smiling] I'll mention it to Colonel Ward the next time I see him. 
[Dorothy heard singing off stage L.] There's a recruit for yeou! Now I'd like 
to command a regiment o' them! Handsome as a picter on dress parade an' 
truer 'n steel in action! [During this Dorothy has sung herself on stage so that 
she is at the door by the end of Reuben's speech. She carries a pail of water] 

DOR. [Outside door, laughing] Pull your chairs away! I'm coming. 
Quick! [Puts head in laughs] Ah I caught you! [Enters with clear ringing 
laugh. Reuben chuckles. Ann pretends to be angry] What makes you blush 
so? [Laughs] 



"THE MINUTE MEN" 73 

ANN. Dorothy Foxglove! D'ye mean to say I'm a'blushin'? Why, I'd 
think no more a'settin* up clus to Reuben then a hen would a'layin' a egg! 
[Dorothy's music ceases] 

REU. What d'ye want to deny it fur? Ye know ye had yer arms around 
my neck! [Chuckles] 

ANN. Reuben Foxglove, ef that was the fust lie ye ever told it'd a'choked 
ye! [Smiling at the thought of the past] It's a good long time sense I had my 
arms around a man's neck, and I dunno's I'll ever git 'em there agin but if 
I do, they'll stay there for the balance o' my nat'ral existence. So put that in 
yer pipe an' smoke it fur tobaccy! [Exit a la militaire, RJD.] 

DOR. [Who has placed the pail on bench and has been listening with a 
pleased expression fills a gourd with water and comes to "Reuben with a 
laugh] Here, take a drink of water to rinse that down with. [They both 
laugh] And how is your poor head today? 

REU. On my shoulders, thanks to you, Dorothy! [Drinks water. Dorothy 
replaces gourd. Music to bring on Ned, Rachel, Roanofye and the Captain] 

DOR. Nonsense! I only did what any other mother would have done for 
her sick boy. [Laughing] Once you were so helpless, Reuben, you didn't have 
ambition enough to even lose your buttons. [Laughs] And now, sir, I'm go- 
ing to make you a nice pan of hot biscuit for your supper. [Going to R.D.] 

NED. [Off stage L.] Yes, rather difficult, but all the safer for it! 

DOR. [Stopping] Hark! Mr. Farnsworth's voice. It's Rachel! f Runs to L. 
door and throws it open. Rachel enters. They embrace} Rachel dear Rachel! 
[They retire up RH. Dorothy relieves Rachel of things and gives them to 
Ann, who has come on R. door. Ann ta\es the things off R. Captain Winslow 
enters. Reuben rises and shades him by the hand. Ta^es Captains gun and 
places it against chimney. RoanoJ(e enters and after placing gun against wall 
UJL. corner f turns to talf^ to Ann t who has entered and crossed over to table 
with materials for mixing bread. Ned enters and leans his gun against wall 
"LH. NOTE: All Anns entrances and exits in this Act must be a la militaire 
all her movements and actions the same] 

REU. [As if continuing conversation with Captain] Yes, thank'er, Cap- 
tain, 'bout as good as new, I reckon. [Cease music} 

NED. There, Captain! And you, Miss Rachel, welcome to Fort Farns- 
worth. [To the Captain] We thought this would be the safest place for you 
till matters cleared up a bit! 

CAPT. [Bowing his head and then taking a survey of the premises'] Com- 
fortable enough and capable of resisting quite a siege! 



74 JAMES A. HERNE 

NED. Built during the French War, I should judge, as a protection against 
Indians. You see, we have the loops and all the requisites [Pointing to 
them} of a first-class fort. -[Laughing] 

CAPT. If these old logs could speak they might tell strange tales of the past. 
Who knows? 

NED. Reuben, are you able to report for duty ? 

REU. Able an' willin', Ned. My ole legs's been idle so long, they're twisted 
up like a skein o' yarn. 

NED. Then come along! [Reuben gets up] There's glorious work afoot. 
We meet a few friends at the old place. Roanoke, it is important that we are 
not surprised! You understand? 

ROAN. The dog is not more faithful the fox more cunningthe eagle 
more vigilant! [Tafes up gun] Fear nothing. 

NED. Ladies, are you afraid to be left alone till evening? 

DOR. We are soldiers' daughters, Mr. Farnsworth! 

ANN. [From table] An' I'm a soldier don't yeou forgit that! 

NED. There is not much danger of our retreat being discovered still cau- 
tion is never to be despised. I would advise barring the doors and shutters 
and not stirring abroad till we return. 

DOR. [Laughing] Ah, you'll find us safe and sound. Never fear! [The 
men all exit L., carrying their guns Roanoke last. As he gets to the door he 
casts a long, lingering, hungry loo\ at Dorothy. Their eyes meet. She smiles 
and inclines her head to him. His face lights up and he exits joyously. Music 
dies gradually away and changes to distant march, which is \ept up now 
wording with scene till Lieutenant Smollet is on stage and scene with Doro- 
thy well begun, when it dies away] Now, Rachel, you sit there [Places her 
in rocking chair] and tell me all the news, while I [Turns and sees Ann get- 
ting dough ready] Now, Mrs. Campbell, I thought I was to make those bis- 
cuits! Here, now you just give me that apron. [Takes apron off her] And if 
you've anything else to do, go and do it! [Laughs] 

ANN. Well, as you'rn my superior officer I reckon my duty is to obey. 
[Salutes and marches off L. Rachel and Dorothy laugh] 

RACH. Our home has been seized and, at the instigation of Dyke Hamp- 
ton, an order has been issued for the arrest of my father on a charge of trea- 
son. The soldiers are now in search of him. If he should be taken, I tremble 
for life! 

DOR. They'll not find him. Mr. Farnsworth is a match for twenty Hamp- 
tons! 

RACH. I pray for his safety but a little while longer. Congress has ap- 
pointed George Washington, Commander-in-Chief of our armies. He is ex- 



"THE MINUTE MEN" 75 

pected in Cambridge within a month to take command. My father, who 
fought with him under Braddock, will seek a position on his staff. 

DOR. And you [Rolling dough] 

RACH. I'll remain where Ned thinks safest and best till his duty permits 
him to call me wife! 

DOR. He's handsome, isn't he? I love to look at a handsome man. That's 
why I'm so fond of looking at Reuben. [Laughs* Six Soldiers, "British" 
headed by Smollet march on from L. and range behind house] Well if I 
were a man Hush! 

SMOL. [Outside] Halt! Two of you guard the right hand. [Two do so] 
Two the left. [Two do so] And two this window. If any person attempts to 
enter or leave the premises, arrest them. If they resist fire! 

DOR. Lieutenant Smollet! [Startled] They've tracked your father. If he 
sees you, all is lost in there and leave me to try and baffle him! [Rachel ex- 
its R. Dorothy sings and busies herself with the biscuits as if nothing had oc- 
curred. Smollet puts head in at window] 

SMOL. Beg pardon! I'm in search of [She loo\s up] Lady Shelton! 

DOR. [As if surprised] Lieutenant Smollet! [Laughs] You are just in time 
to help me with the biscuits! Come in. [He does so] Sit down. [He does so] 
Tm delighted to see you! Excuse my not shaking hands. [Showing hands 
all flour] Now, make yourself perfectly at home. Well, well, this is a surprise! 
[Smollet is a trifle weary] 

SMOL. Lady Shelton! 

DOR. Dorothy Foxglove if you please! 

SMOL. Miss Foxglove [Bowing] I cannot say how delighted and pained I 
am to meet you again pained because I come on an unpleasant duty. [Plac- 
ing hat on bench] 

DOR. Indeed! Does it concern me? [Wording not looking] 

SMOL. It does! I am ordered to arrest and convey you to your father. [She 
stares, but instantly recovers] Also, to arrest Mr. Foxglove on the charge of 
abducting one of his Majesty's subjects. 

DOR. [Furtively looking around as if for means of escape then changing 
to laughing manner] But he did not abduct me I abducted myself! 

SMOL. Beg pardon! I have my orders. 

DOR. What if I refuse to accompany you? 

SMOL. You will compel me to use [Very respectfully] force! 

DOR. [Must show that she is thoroughly frightened and only trying to find 
a way out of the dilemma] What? Carry me off? Wouldn't that be roman- 
tic! Well, I must get these biscuits ready for supper before I go, at all events! 

SMOL. Where is Mr. Foxglove? 



76 JAMES A. HERNE 

DOR. I do not know. 

SMOL. On your honor? 

DOR. On my honor. 

SMOL. [Bowing} Are you alone here? 

DOR. No. My friend Rachel Winslow and Mrs. Campbell are in that 
room. [Points to R. door] 

SMOL. No one else? 

DOR. If you doubt me, order your men to search. 

SMOL. Miss Foxglove, I will subject you to no indignity I can avoid, be- 
lieve me! [Bowing] 

DOR. [Bowing] Thank you! [Aside] If I could but detain him till the 
men return! 

SMOL. [ Who has been taking a survey of the premises] I wish this duty 
had been assigned to another! 

DOR. [Coquettishly] Do you really? 

SMOL. [Embarrassed] Well, that is I don't exactly 

DOR. Since I must be carried [Coquettishly] off by some one, I know of 
no one I'd prefer to you. 

SMOL. [Amazed] Thank you! 

DOR. [Who has gotten a fan of biscuits ready] Please put this on the 
hearth. [Giving him pan. He obeys without thinking what he is doing] 
Thank you. Do you know you used to say a great many pretty things to me? 

SMOL. Did I ? 

DOR. Did you mean them? 

SMOL. Well I 

DOR. Oh, dear! I forgot to cover the pan. Please put this over those bis- 
cuits [Giving cloth. He takes it, same manner] 

SMOL. [Very much in love and showing it] I was going to say 

DOR. [Simply] You once told me you loved me. 

SMOL. [Confirmatively] I did. 

DOR. Here. This is ready. [Giving him another pan. He taf(es it as before] 
Did you mean it? [Hands him another cloth] 

SMOL. [Covering the bread] From the bottom of my heart! 

DOR. [Finishing wor\ at table wiping hands clean] Do you love me 
still? [Coming down Dorothy L. Smollet RJ\ 

SMOL. Yes! 

DOR. Prove it! 

SMOL. How by getting down on my knees? [Laughs] My men! [Points 
to window] Rather an undignified action under the circumstances don't you 
think so? 



"THE MINUTE MEN" 77 

DOR. Til close the shutter. [Does so] 

SMOL. Ask something else I beg! 

DOR. [Getting close to him finally drawing his arm around her waist and 
toying with his hand} Go back to Sir Frederick and say your search was un- 
successful. 

SMOL. Miss Foxglove, you were never more charming. It breaks my heart 
to refuse you but 

DOR. You do refuse? 

SMOL. Positively! [Decidedly] 

DOR. I think I like you better I certainly respect you more for it. 

SMOL. I'm sure you do. 

DOR. Then I presume I must go with you. But I shall need close watch- 
ing! If I can escape, I will. [Laughing] 

SMOL. Decidedly! All's fair in love and in war, you know! 

DOR. [Laughing] Do you remember the day I decorated you with apple 
parings? 

SMOL. I shall never forget it! [Laughs] 

DOR. [Coquettishly] You used to call me your little Captain. 

SMOL. And shall be proud to do so still! 

DOR. Does it become me? [Putting on his hat] 

SMOL. Everything becomes you! It is a pleasure even to be the object of 
your sport! [Music till picture formed by Ann and Rachel] 

DOR. I wonder if you have forgotten our drill. Let me have your sword. 
[He gives it] Now! Attention! [He stands in position] Heads up! [Coming 
close to him] Lieutenant Smollet [Laughing] You are my prisoner! [He 
laughs. She at once changes her manner and says in low quic\ decisive tones] 
If you attempt to move but as I dictate, I'll send a bullet through your brain. 
[Throwing away sword and quickly snatching pistol from his belt, cocking it 
and pointing it at his head] 

SMOL. [Realizing] My dear Miss Foxglove 

DOR. Attention! [He does so. She speaks in hurried whisper] Order your 
men to stack arms and enter. And remember, the slightest sign and you are a 
dead man. 

SMOL. [Deeply chagrined hesitates then concludes to obey] Corporal, 
call in your men! Stack arms and enter. There is a mistake here! [The two 
Men on guard LH. go behind house. All are heard to stac\ arms. Then they 
enter, single file range across bac\ of stage and face audience] 

DOR. Bar the shutter! [Smollet does so] Take your place there. [Places 
him C. t facing audience. He folds his arms. She taJ(es position in front of him, 
to audience. Pistol aimed] And remember, I am a determined and des- 



7 8 JAMES A. HERNE 

perate woman! [To Soldiers who are now on] Soldiers, as your officer tells 
you, there has been a slight mistake here. He came to take me prisoner. I 
have turned the tables on him that's all! [Soldiers loo\ at each other an in- 
stantthen at the Lieutenant and realizing the situation, start R. and L. as 
if to recover their guns. At the same instant enter Ann R.D. with soldiers 
gun and fixed bayonet, and Rachel same way from L. They rush down and 
form a line in front with Dorothy. Aim at Soldiers. Picture. Cease music] 
ANN. I'm listed at last! Three cheers for the first regimint of American 

women! 

DOR. Lieutenant, order your men to remove that trap and go below! 

SMOL. [Without looking] Corporal! Obey! [Corporal directs men they 
remove trap and go below the Corporal last. He ma\es a dart at Ann. She 
presents the gun} 

ANN. I know a trick worth two of that. Go below! Go below! [He finally 
does so] Now shut up the shop! [He closes the trap] 

DOR. Lieutenant, give me your word not to attempt to escape or release 
your men, and you are at liberty! 

SMOL. You have it! 

DOR. Guard's relieved! [Rachel puts up gun] Forgive me, Lieutenant 
[Offering hand cordially] But all's fair in love and war, you know! [Music 
till Reuben and party on] 

SMOL. [Hesitates then laughs takes hand] You've fairly won, Miss Fox- 
glove, and, upon my word, I'm not half sorry either! [Dorothy, Rachel and 
Smollet retire. Ann marches on to trap goes rapidly through the manual of 
arms then marches up to C. f puts down gun marches of R. returns with 
guns places them beside hers, and continues quickly till all the guns on 
keep last gun and stand sentry on trap door. This business will be new and 
very fine if done right. Enter Reuben, Ned, Captain Winslow f Roano^e and 
two Woodmen all armed} 

REU. Well, Dorothy, how about them 'ere? [Sees Lieutenant aims gun 
quickly. The others act also, but in different positions] Ah! A surprise! 

DOR. Yes! 

REU. Ah! [Movement] 

DOR. [Quickly and springing in front of Smollet] B but for the Lieuten- 
ant, father not for us! 

REU. What in the name of Satan [Ned has crossed to Rachel, U.I.R. She 
is telling him. He laughs] 

DOR. You shall see. Sergeant Campbell! 

ANN. Private, if you please! High private's good enough for me! 

DOR. Private Campbell {^/2# presents] Bring forth the prisoners. 



"THE MINUTE MEN" 79 

ANN. [Throwing up trap] Rats! Come out'n yer holes! [Soldiers come 
up. She points. They range down R.] 

DOR. You see, father Lieutenant Smollet was detailed to take you and 
me prisoner. 

REU. Well! Be we took? 

DOR. No! I relieved him of the disagreeable duty! 

REU. Wa'al b'gosh! [The Soldiers loo\ at each other and smile. The 
Woodmen slap each other on the bac\ and sha^e hands] How in natur 

DOR. You shall know all in good time. [During this scene Ann has 
paced up and down in front of Men as sentry} The question now is the dis- 
posal of these men! 

REU. Ned! What'll we do with the critters? 

ANN. Give 'em to me for target practice! 

NED. [To Lieutenant] How did you discover our retreat? 

SMOL. Mr. Hampton gave the information to Sir Frederick on condition 
that he would use it to secure Mr. Foxglove and his daughter only. [ Reubens 
party all loo\ at each other] 

NED. Captain [To Winslow] there's more in this. What do you advise? 

CAPT. Bind them! [Reuben, Ned, Roano^e and the two Men bind the 
Soldiers with withes] Allen, you two take them by the circuitous route to the 
place from whence we have just come. Use caution. Report at once to Colonel 
Ward. [Smollet comes down to him and holds out hands. Captain smiles] 
No! No! Lieutenant, you will remain with us and make yourself as comfort- 
able as circumstances will permit! 

SMOL. Thank you! [Bows. Over, joins Ladies] 

CAPT. [To the Men] Forward! [Allen stands at door and points of. The 
Soldiers exit and off followed by Allen and HerricJ^ as they are going] 

ANN. Let me go with 'em. Captain. They may need another man! 

REU. [Coming down to her] Say, don't yer forgit this regimint's got to 
eat! An* you're cook! 

ANN. Cook! That settles it! No use'n a feller tryin' to win martial glory 
here! I see that! [Puts gun against wall and exits R. door very dejectedly] 

REU. Captain! Ned! There's danger ahead! [Music till end of act] Dyke 
Hampton's tracked us out. 

CAPT. Well, what then? 

REU. Don't you see? First git rid o' me'n Dorothy then secure Rachel, 
murder Ned an' kill you if necessary or I'm a double-headed Dutchman! 

NED. [With decision] Reuben is right. We must not remain here! [It has 
gradually grown dar\ outside and in. Ann re-enters as if to set table] 

ROAN. [Who has been listening} Silence. Stir not till Roanoke returns. 



80 JAMES A. HERNE 

[All stand in exactly the positions they were in, as if straining to catch the 
slightest sound. Roanoke exits noiselessly, but swiftly. Listens with ear to 
ground and suddenly but silently darts into the woods and disappears. He is 
gone about ten seconds when he as silently and swijtly re-enters bounds into 
the cabin and bars the door. Reuben quickly bars the other} The White Pan- 
ther and his Renegades! 

REU. Dyke an* his Injuns by thunder! 

NED. Quick, let us escape before we are surrounded! 

ROAN. And fall into the ambush of the cunning Panther! Hark! [Indian 
heads are now seen darting from all parts of the scene. They are hideously 
fainted} 

REU. Ned! [Aside to him, but so as to impress the audience] How's the 

tide? 

NED. [Same manner] Full. 

REU. Then we're in for it. There'll be fightin' enough now, I reckon! [At 
the word -fighting, Ann, who has been listening, springs and gets her gun] 
How many ar'em, Roanoke? 

ROAN. The Renegade is a coward! He will not attack an equal foe. The 
ear of Roanoke deceives him not. He outnumbers us ten fold! 

REU. Let's draw the Panther's claws a bit! 

ALL. How ? 

REU. I'll show ye an' all Indian fighter's trick! [Tafas off coat stuffs 
blanket in it to make dummy breaks broom handles for arms. All in cabin 
busy themselves in this so as not to notice action outside of cabin. Reuben gets 
long po\er from chimney place. During this enter cautiously from behind 
house Dy\e and Morton Handy, a renegade white man in Indian dress. It is 
quite dar\ now] 

DYKE. You got the barrel of rum I sent? 

HANDY. Yes, or I wouldn't 'a been here. 

DYKE. The soldiers have doubtless gone with Foxglove and his daughter. 
That leaves but the Captain, the old woman Campbell, the girl and [Be- 
tween his teeth as if he could not bring himself to speaJ^ the word] her lover. 
Batter down the door. Fire upon the men. Do as you will the women. But 
the girlharm not a hair of her head. Place her alive alive, within my arms 
[Passionately] and then ask of me what you will! 

HANDY. Trust me! I'll do my best! 

DYKE. Good! Remember Rachel alive to me! [They retire] 

REU. [All being ready] Here, Dorothy. You work this Fandango go 
Rachel, you open the shutters. Boys, yer muzzles to your loops and wait for 
the word! Now! 



"THE MINUTE MEN" 81 

SMOL. Mr. Foxglove, I am an Englishman and your prisoner. But I am 
also a soldier. Will you permit me to assist in protecting these ladies? [Spoken 
quietly and with dignity] 

REU. Lieutenant, you're a man! Give him a gun! 

SMOL. I have one, thank you. [Quietly, as if it were an every day occur- 
rence. Dorothy loo^s gratitude. Smollet faows it, but seems not to} 

REU. Silence all! Ready! [Rachel opens half the shutter. Dorothy wor\s 
dummy out of window. At same instant a volley from all sides followed by 
the Indians who rush out to scalp body] Fire! [Ann, Captain, Reuben, Ned, 
Roano\e, fire. Three Indians on L. fall dead. The others disappear. Dorothy 
hastily withdraws dummy. Rachel blockades window] Well done, my beau- 
ties! Load quick, lads! Dorothy, tend to Trusty while I reconnoiter. That 
kinder staggered 'em, I reckon! [They all load. Dorothy loads Reuben's 
rifle. Ann and Smollet tafe Soldiers' guns. Reuben at loop] They're goin' to 
batter down the door. All on this side! [Men do so and get ready] Study-y- 
[Twelve Indians appear bearing large pine trun\ as a ram it is very heavy. 
Two others creep around from behind house placing brush, etc. When the 
ram is near enough, the men swing it backwards and forwards several times 
to give it an impetus] Fire! [Six Indians fall. The balance drop the ram and 
disappear. Four are filled of the six who fall, the other two regain their feet 
and stagger off badly wounded] Good boys load! Here, Dorothy [Gives 
her gun. Places eye to loop] Give me a gun! Quick! [She gives him Soldier's 
gun. At that instant an Indian darts out from L. with pine foot lighted. 
Reuben fires. The Indian falls] Another gun! Quick! [Before they can get 
it to him, another Indian rushes on, snatches torch from dead one and fires 
the house. A tremendous yell and the Indians swarm around the fire] They 
have fired the fort! We're lost! [All stand aghast] 

SMOL. Throw open the doors [Very coolly] and let us fight our way 
through them! 

CAPT. That were certain death to us and to these poor girls a fate more 
terrible! 

REU. [In hoarse whisper] There's one chance for us an' but one! Ned! 
Quick! [Ned disappears down trap. All seem to exclaim "Than\ God"] 
There's an underground passage that fills an' empties with the tide! If the 
tide's out we're safe. If not [Ned appears] How is it, Ned? 

NED. On the turn! There's a chance! [All faces light up] 

REU. Quick, then! [Ladies are passed down first. Captain, Roano\e, 
Smollet and Ned follow. Reuben \eeps guard till the last. As he is going] If 
that fails the gunpowder! [Descends and closes trap. Meantime the Indians 
have gathered around the house with guns ready to shoot when the people 



82 JAMES A. HERNE 

shall be forced to appear. The house falls in with a crash. The Indians fire a 
volley and yell. DyJ^e Hampton and Handy appear. Picture} 

DYKE. Damnation! They have escaped! [Terrific explosion. The scene is 
blown to pieces and amid the din, smoke and yells, and groans of the dying 
and wounded Indians, the Curtain descends] 

ACT IV. 

TIME: June 7775. 

SCENE i : On Mystic River. Picturesque landscape at daybrea\. Distant hilly 
country very fair and beautiful on R. Water of creef^ supposed to flow in 
from river sort of cove L. The sun rises during action of scene and must 
be very fine or not done at all. Two boats moored on beach* Camp fire and 
\ettle R.iJE. at which are seated Reuben and Ned. They are in tatters. Reu- 
ben no coat or hat. Ned part of coat and hat. The idea to be conveyed is 
that the explosion had almost stripped them. Ann Campbell with mans coat 
and hat on, gun between \nees f asleep against large roc\ R.C. Dorothy and 
Rachel asleep on blanket spread on stage L.C. Rachel covered with an old 
s'kin wolf; Dorothy, by what is left of Smollet's coat. Smollet in shirt sleeves, 
shirt torn, no hat, hair and beard awry one boot, this very much the worse 
for wear, is seated L., tying up other foot in colored silf( handkerchief. 
Roanofe on ground C. Allen with Reuben. Allen no coat or hat. Ann has 
them. Captain asleep L.iJE. Music at rise. Dies out as scene well open. 

REU. [As if continuing conversation] Wa'al, ye see the dumed thing 
went off sooner 'n I kalkelated! 

NED. Why didn't you tell us you were going to fire the powder? 

REU. There wa'ant no time to talk. Allus stretch yer legs accordin' to the 
length o' yer coverlet. Dyke wanted a bonefire 'n I thought I'd give him 
one. I laid the train from my powder horn as I went along an* soon's I see 
the Captain J n Roanoke *n the wimmen in the boat I let'r rip! 

NED. You took a desperate chance, Reuben! 

REU. Got to when the odd's agin ye. Ye can't ketch no trout a'thout wet- 
tin' yer feet. I wa'ant a goin' to hev them cut-throats foller us if I could 
help it! 

SMOL. They will never again follow anyone in the world. 

REU. There's no danger o' our meetin' 'em in the next. I giv 'em a ticket 
clean through to the other side, I reckon. Come [Rising] all rise. Let's see 
how breakfast's progressin', Lieutenant. After breakfast you are at lib- 
erty to depart. Tom Allen'll show ye the nearest way to your command. 



"THE MINUTE MEN" 83 

To-night yer men 11 be sent to join ye. An' if ever ye get into trouble an* 
we kin help ye out, call on us an* yell find us there. [Offers hand] 

SMOL. Thank ye, Mr. Foxglove. [Taking hand} I shall regret to leave 
you all, however. 

ANN. [Asleep] That's it! Giv it to 'em! Second section forward! 

REU. [Smiling] The Brigadier's at it agin! [All listen] 

ANN. Ready! Present! 

REU. [In her ear] Fire! 

ANN. [Jumping up and pointing gun first at one and then the other] Come 
on, durn ye! I ken lick a regimint on ye! [All laugh. She realizes the situa- 
tion. Joins in laughter] What'n thunder *d ye want to wake a feller up for? 
I'd a captured the hull British army'n another minit! 

REU. We kind o' hed pity on 'em, ye see! [Reuben, Ned, Roanofe and 
Allen, carrying their guns with them, start off L.iJE.] Come along, boys. 
[Exeunt] 

ANN. [To Smollet] Where be they a-goin'? 

SMOL. To look after breakfast. 

ANN. Oh! I was af eared they was a skirmish afoot an' they wanted to 
leave me behind! Ill be glad when we git inter the reglar army. I'm sick 
a'cookin'! [Going off carrying gun. Looking bac\ and tallying to Smollet, 
stumbles across the Captain] Mercy on us! [Sees who it is] Beg pardon, Cap- 
tain! [Exit LjrJ?.] 

CAPT. Don't mention it. [Gets up quite stiffly. Stretches and yawns] 
Hello, Smollet, that you? 

SMOL. Minus a boot and other articles! 

CAPT. [Seeing girls asleep] Girls not up yet, eh? 

SMOL. Heard them snoring as I passed their room just now. 

DOR. [From the blanket] Never snored in my life! [Sits up laughing] 

SMOL. Beg pardon. Meant figuratively, of course! [Laughs] 

DOR. Rachel let's get up! 

SMOL. [Naively] Shall I retire? 

DOR. If you're sleepy. 

SMOL. I mean to permit you ladies to rise. 

DOR. [Laughing] We can rise without your permission. Here, give me 
your hand! [He does so. She jumps up] 

SMOL. Shall I assist you, Miss Winslow? 

RACH. No thank you. [Jumps up laughing. Sees Captain. Goes to him] 
Good-morning, father. 

CAPT. Good-morning, my daughter. 

DOR. Excuse me. Good-morning, Captain. 



84 JAMES A. HERNE 

CAPT. Good-morning, Dorothy, child. [Rachel and Captain L. Dorothy at 
blanket. Smollet R. of her. Rachel and Captain tall^ together and finally 
saunter off L.iJE.] 

DOR. Lieutenant, come and help me make this bed! 

SMOL. With pleasure. [They fold up blankets] 

DOR. Allow me. [Offers to help him on with his coat] That's the first 
red coat I ever wore. 

SMOL. Did you find it comfortable? 

DOR. Extremely so! 

SMOL. Continue to wear it. 

DOR. [Archly] The colors might run. 

SMOL. Warranted fast. 

DOR. [Archly] How fast? 

SMOL. [Same way] Stead-fast! [Turning and offering his arm] 

DOR. [Singing and putting the coat on him] 
Steadfast and true 
I'll prove to you 
If you'll follow rne, over the sea! [Laughs] 

SMOL. I return to my regiment today. 

DOR. Do you? [Half seriously] 

SMOL. [Sadly] Yes. What shall I say to Sir Frederick? 

DOR. [Archly] Tell the truth! [He loo f^s at her. Their eyes meet. Both 
laugh] 

SMOL. I mean concerning you! 

DOR. [Laughing] Say that I am all right! 

SMOL. You are relinquishing a grand position. 

DOR. I am retaining my liberty and the wealth of honest hearts that 
love me! 

SMOL. Your title is 

DOR. One of which I am very proud an American Girl! [Smiling and 
bowing] 

SMOL. [Resignedly and offering hand] Perhaps we may meet again. 

DOR. I hope so. [Seriously] Believe me! \Ta\es his hand] 

SMOL. We're friends. [Smiling] 

DOR. [Looking him fairly in the face, as if to undeceive him as to any hope 
beyond] Yes friends. True, honest friends! [They loof^ at each other a 
moment, then drop hands] 

SMOL. [Quickly] I wish I could find my other boot. [Limps. Enter from 
L.iJE. Reuben] 

REU. Now then, Lieutenant. Hello! Dorothy, up and dressed! 



"THE MINUTE MEN" 85 

DOR. Not much dressing to do, father. [Loo^s at him comically] What- 
ever will you do now, child! You've no buttons to lose! 

REU. Borry some o' the Brigadier's! Come along to breakfast. Lieutenant, 
escort her to the dinin' hall. [Exit Reuben, L.iJE. Music very lively till Smol- 
let and Dorothy off, then change to bring DyJ^e and Handy on and off, 
then change to bring Roano^e on. Keep up through his scene and change 
again and \eep up till end of Act] 

SMOL. [Limps over to her places hand on heart, bows very low and offers 
arm. She accepts with great ceremony, lie limps off, steps on pebble f business 
and exit. Music changes. Enter DyJ^e Hampton, Morton Handy and Two In- 
dians from t/JLL. DyJ^e is bruised and wounded almost beyond recognition. 
They have no guns] 

DYKE. You must be mistaken. 

HANDY. No! How did ye say he came here? [Laughs outside L. by Reu- 
ben and Party. Not too loud] 

DYKE. With a band of Mohawks. About ten years ago. When they left 
he went with them, but one day suddenly returned. He seemed fascinated 
with the place, as a strange dog will sometimes be disappearing one day 
returning the next. They all took kindly to him, and so he's lived among 
them ever since. 

HANDY. Then, I'm not mistaken. I've not seen him for eighteen years, but 
I'll swear to his face. 

DYKE. So you lied to me! 

REU. [Outside} Three cheers for the Brigadier! {All laugh} 

HANDY. [Avoiding the question} I told you I'd put him out o'way, 
and I believed I'd done it. I give him to a Mohawk chief who for a portion 
of the money you give me promised I'd never hear of him agin but it's 
him. The fates seem agin ye, Dyke! Best give this thing up. 

DYKE. Never! 

SMOL. [Outside} No! No! No! 

DOR. [Outside] Yes! Yes! Yes! [All laugh} 

HANDY. It's cost a good many lives already. 

DYKE. What's a few Indians? I live and while I live I'll not give her up. 
I love her. [Handy laughs] Yes, love her. And I hate that man. I'll kill him 
and have her, if all Hell stood between us! Once in my possession I'm her 
Master! [Dorothy sings a line and ends with a merry laugh. Handy V eyes 
light up with passion] 

HANDY. Dyke! I've got a cage that'd just fit that singin' bird. I want her! 

DYKE. [Appalled] That's dangerous. She's an English Colonel's daughter. 

DOR. [Outside} No! I'm not! 



86 JAMES A. HERNE 

HANDY. [Lecherously] I must have her! [They loo\ at each other] 

DYKE. Take her. Now to our places. This time we'll not fail! [Exeunt 
from whence they came, Dy^e last. Music changes. Enter Roanoke, gloomy 
and despondent. Seats himself on roc\ R.C.] 

SMOL. [Outside] What I mean to say is 

DOR. [Outside. Laughing] You've said quite enough! I'll not hear an- 
other word. [Runs on laughing] I'll [Sees Roanofe. Runs to him] Why, 
Roanoke are you ill? 

ROAN. No. Roanoke is not ill. He is sad. [She coils herself down at his 
feet and leaning on his knees, loo^s up into his face] Very sad! He must say 
farewell. 

DOR. [Alarmed] And why? 

ROAN. The English officer loves the Primrose. 

DOR. [Looking at him half laughing, half frightened, trying to draw away] 
Why, Roanoke, you're jealous! 

ROAN. [Seizing her fiercely and restraining her] As the Tiger of his 
mate! Roanoke loves -but his skin is dark! His race wild, untutored, savage! 
His birth unknown. His very tribe a question! 

DOR. But safe and gentle of nature strong of arm and brave of heart. 
He is a Man! All are not such who wear a fairer skin. 

ROAN. The English officer is brave. 

DOR. As a lion! 

ROAN. And noble! 

DOR. As a Prince! 

ROAN. Does the Primrose love him? 

DOR. I [ Casting down eyes] I you 

ROAN. Does the Primrose love him? [Fiercely] 

DOR. You frighten me! [Springs up. Gets away from him] 

ROAN. [Going up stage to R.] Forgive. Roanoke will not harm. He will 
wander away into the depths of the silent forest from whence he never 
should have emerged. He will seek the tribe from which he never should 
have strayed and never shall the shadow of his life fall athwart the sun- 
light of your path again. 

DOR. [Going to him and almost unconsciously drawing him bac\ to his 
seat and resuming her position] All sunshine and no shadow would wither 
and kill the sturdiest flower. How then could the fragile Primrose hope to 
survive its fierce rays? 

ROAN. Other forms will shelter, other arms protect, other eyes bedew it! 

DOR. Roanoke will not leave us [He loo^s at her] 

ROAN. He must! 



"THE MINUTE MEN" 87 

DOR. His country? 

ROAN. He has no country. 

DOR. His friends? 

ROAN. He has no friends. 

DOR. [Half laughing half crying} What! No Reuben, who has loved 
him as a son? 

ROAN. [Impatiently rising as if not to acknowledge it] No! 

DOR. For [With wild cry] my sake [Frightened the moment she has 
spoken. Change music] 

ROAN. [Catches her in his arms li\e a whirlwind. She tries to resist. All 
useless] You love Roanoke [At that instant enter Herric]^ UER. Carries 
gun. Speaks li\e lightning as he enters. Distant cannonading which continues 
all through scene] 

HER. Reuben! Farnsworth! Quick! Quick! [All enter from L.iJE.] Pres- 
cott and Putnam are fortified on Bunker's Hill and Howe with all his force 
is marching to dislodge them! [Ann rushes off L.iJE.] 

REU. Dorothy, a kiss [She rushes to him, is clasped a second in his arms. 
Captain and Ned have pissed Rachel] Come, Ned! {Going R.UJE.] Con- 
cord and Bunker's Hill! 

NED. [Following] Will leave a record to the world! [Exeunt Captain and 
Herric\, follow quickly] 

ROAN. [QuickC as lightning to Dorothy] Roanoke protects you! 

DOR. Protect our country first. If you live, return to me. [Roanoke stares 
bethinks him of his gun. Starts L.iE. to get it. Meets Ann, who has rushed 
on with hat f coat and gun. Seizes her gunquic\ struggle. He throws her 
off. She almost falls as he exits R.UJE. with gun. Distant rumbling of cannon 
all the time. The scene must be flayed with lightning's rapidity. Rachel and 
Dorothy have gone up R. to loof^ after men] 

ANN. Well, durn your copper colored carcass! [Enter at same time Dy\e, 
Handy and Two Indians no guns. Dyke has large fyiije in belt. Dyfe seizes 
Rachel from behind and pinions her in his arms. Handy seizes Dorothy same 
way. An Indian seizes Ann same way and bears her to left corner. Other 
Indian strides Smollet on head with tomahawf^ and fells him, then rushes to 
assist Indian with Ann. As he nears her she %ic\s him in the stomach. He 
turns a complete somersault recovers quickly. Women scream] 
DOR. Help! Father! Roanoke! 
RACK. Help! Help! 
DOR. Roanoke! 

ROAN. Here. [Bounds on li\e a panther. Snaps gun at Handy. It misses 
fire. Throws away gun and springs for Handy's throat. Handy lets go 



88 JAMES A. HERNE 

Dorothy. Indian drops Ann and seizes Dorothy. Handy and Roano\e meet 
C. A terrific struggle for the supremacya la Lorna Doone. During it Smol- 
let recovers and is seen to steal off. Handy has Roanofye by the throat and 
is strangling him] 

DOR. Roanoke! [Seeing him nearly overpowered] I love you! [At the 
sound of her voice Roanoke gathers superhuman strength and is in the act 
of overpowering Handy, whom he now has by the throat, when Rachel, 
scarce knowing what she does, breads from Dyf^e, seizes f^nife from his belt, 
rushes down to stab Handy. He adroitly turns Roanoke so that she stabs 
him. With a cry he relinquishes his hold on Handy and falls. Dorothy breads 
from Indian, runs to Roanoke and ta\es his head on breast, passionately 
\issing and calling on him to speaJ^. Rachel stands transfixed with horror} 

HANDY. [Quickly recovering himself] Rachel Winslow! You have killed 
your brother. [ Rachel shrieks, stands life one mad, then faints. Indian catches 
her] 

DYKE. {Springing down, catches Handy by the throat, as if to chofe the 
words bacf(\ You lie! You lie! 

PICTURE AND CURTAIN 

[Change music to Y an fee Doodle. Boom the cannon. Discharge musfetry, 
etc., etc., and ring up when all is ready on] 

SECOND PICTURE 
YANKEE DOODLE 

[See Plate. When all ready they march to R. Change music and change to] 

THIRD PICTURE 
BATTLE OF BUNKER*S HILL 

[See Plate. Part action, part tableau. Reuben, Ned, Captain on promenade. 
All the cannons, guns and drums and] 

RING ACT DROPS 

ACT V. 

TIME: 7776. 

SCENE: Dorchester Heights. Same scene as Act I except to have house fur- 
ther off stage to give more room for tableau at end. Discovered: Captain 
Winslow smoking and seated on rustic seat L. Rachel in low roc\er sewing. 
Music at rise. 



"THE MINUTE MEN" 89 

CAPT. Yes my dear daughter this is indeed a glorious day for us and 
for our cause. The British at kst compelled to evacuate our city and leave 
our people once more to the enjoyment of life, liberty and happiness! 

RACK. And you, dear father, restored to the wealth of which you had been 
so willfully deprived blest by the discovery of a son, long mourned as dead 

CAPT. Possessing the love of a daughter whose courage and devotion have 
never faltered! It needs but the success of my country's arms to make a peace- 
ful ending to an eventful, active life! 

RACK. You have positively reconsidered your determination of entering 
the Army? 

CAPT. Yes. I am old and a cripple. You will be alone. I don't know how 
a piece of an old soldier like myself can better serve his country than by 
protecting one of her fairest and bravest daughters! 

RACH. Oh, father! 

CAPT. No word from Ned yet, eh ? 

RACH. No, father. He said he would not return till he brought undoubted 
proofs of dear Harry's identity and Hampton's villainy. 

CAPT. Oh! I've no doubt of Roanoke's identity at all. There was always 
a something that seemed to draw me towards him! Handy 's story the scar 
over the right eye caused by the fall he received when a baby the unmis- 
takable likeness to his dead mother are all proofs positive that he is my 
son. Still, I presume that for the Law's sake, it is right to establish the fact 
beyond question. 

RACH. What a strange fatality was that that impelled me to rush to 
his aid and so nearly made me the instrument of his death! [Peculiar strain 
for Roanoke's entrance kept up till his exit] 

CAPT. Fatality, indeed! 'Twas that blow struck as he believed fatally 
that caused Handy to cry out in his savage joy, "You have killed your 
brother!" 

RACH. The Hand of Heaven, father! Let us acknowledge its wisdom and 
power. [Enter Z7JEX. RoanoJ^e in full Continental uniform "Private" 
followed by Reuben dressed as Continental Sergeant} 

REU. Well, Captain here we be! How d'ye think the boy looks in his 
regimintals? 

CAPT. Look! [Enthusiastically] Like the hero he is sure to prove him- 
selflike the soldier it gladdens the old man's eyes to look upon! God bless 
you, my boy! [Embraces Roano^e, crosses to Reuben wiping eyes] God bless 
you, my boy! 

RACH. [Embracing Roano^e] My dear dear brother! 



90 JAMES A. HERNE 

ROAN. Sister! Father! [Taking hand of each. Then looking up reverently] 
Mother! Strange sweet words to the Indian's tongue! Had Roanoke known 
them sooner he might 'perhaps have prized them more! But now there is 
another and a dearer Wife the great spirit has no gift to equal that! 

REU. Look here if Dorothy loves you 

ROAN. Roanoke knows she loves him! [Crosses to Reuben] 

REU. Then, all's I got to say is it'll be purty durned hard work to keep 
ye apart. She's little, but by Mighty she's slicker 'n a fox. I allus found out 
that ef she would she would an' ef she wouldn't all Natin couldn't make 
her! 

ROAN. Her father 

REU. See here don't yeou go to stealin' a feller's privileges! I'm her 
father a good deal more'n he is! 

ROAN. Keeps her prisoner! 

REU. There ain't no more prisoners in Boston that is evacuation day 
an' ef she don't give 'em a slip I miss my guess! 

CAPT. Come, my son. Calm yourself. All will yet be well! Come into the 
house. 

ROAN. Roanoke cannot dwell within walls like a caged animal! He must 
be free to come and go at will! He will wander toward the great city. He 
may meet her. Should he do so and they deny her to him let them beware 
the Indian's fury! [Strides out majestically, raising himself to his full height, 



RACH. [Clinging to the Captain] How fierce he looked, father! He ter- 
rifies me. Can this be my brother? [Music dies out gradually] 

CAPT. I almost doubt myself I never saw him so before. Perhaps his 
wound [Offers arm to Rachel] 

REU. That's it his wound not the one Rachel give him though. Dor- 
othy's wounded him her [Points to heart] an* he's cut deep too he is! 

CAPT. I fear he will never learn never be able to accustom himself to our 
ways. [Going L.2.E. with Rachel] 

REU. Give him a chance ye can't expect to make a white man out'n an 
Injun in a day! Time'll fetch him around all right. 

CAPT. I hope so! 

REU. I know so! I know Injuns I do! [Captain and Rachel exit. Ann 
enters from house. Stops on steps at seeing Reuben and holds up both hands 
in delight] 

ANN. Well, Reuben Foxglove! An' in yer new rig-i-mintles, as I'm a 
sinner! [Comes down] Turn around an' lets hev a look at ye. [Turns him 



"THE MINUTE MEN" 91 

around] Well, ef you hain't stunnin'! I'd give the hull balance o' my life to 
wear that suit jist five minutes by the watch! 

REU. [Slyly] Come into the Dairy 'n I let ye try 'em on! 

ANN. [Paying no attention to that] Them's the kind o' clothes for a feller 
to fight in! No petticoats a'flappin' round a man's legs to trip him up! So 
that's the new uniform, eh? [Her eyes fairly dancing with admiration] 

REU. Yes! We've took the swaddlin' clothes ofFn the child Independence 
and dressed him in Continentals no more creepin' for him. He's got to 
walk alone now! An' afore King George knows it he'll walk clean through 
the British Armies ownin' and controlin every foot of this the Land that 
give him birth! 

ANN. Ef a feller wa'ant a woman what fun he could hev'n them clothes! 

REU. Ye got a leetle the wust b' the last skirmish didn't ye, Brigadier? 

ANN. *T wa'ant no fair fight no how! 

REU. What was it the Injun said to ye? 

ANN. Wanted me to go to his wigwam an' be his squaw! 

REU. Did ye go? 

ANN. I hain't yit! I'm a'waitin' till he comes round agin! 

REU. An' so Lieutenant Smollet got ye all out'n the scrape eh? 

ANN. Yes he managed to crawl off unobserved an' jest as Hampton 
thought he had us all in a hornet's nest he surrounded us with a party of 
his own soldiers an' took us all prisoners! 

REU. All on ye? 

ANN. All but Dyke! He jumped into the river'n by swimmin' under water 
escaped. Smullet marched us all afore Sir Frederick who give orders to have 
Roanoke's wounds seen to an* all on us released except Dorothy. The In- 
juns an' Handy he turned over to a guard! I tell ye, Reuben, that Smullet's 
a good 'un! If ever I do go to a wigwam to be a squaw, it'll be with a man 
like Smullet! [Dorothy's music] 

REU. Say, Brigadier! Fve been a'thinkin' that ef you'n me that is, ef 
we was to form ourselves into a platoon [She loo\s at him in perfect amaze- 
ment] ef we was to [Tittering laugh heard from bushes R] 

ANN. [Hearing it] What's that? 

REU. Woodchuck, I reckon. Here, take my arm ef ye're skeered! [She 
does so] I was a'thinkin' [Laugh heard again] 

ANN. [Stopping] Reuben, that wa'ant no woodchuck! 

REU. 'Twas a squirrel a'chatterin', then [Listens] I was a'thinkin' 
[Laugh heard again] 

ANN. There it is agin! [In loud whisper] Reuben Foxglove, there's some- 
body a' listenin' to ye! 



9 2 JAMES A. HERNE 

REU. [In loud whisper] There hain't! 

ANN. [Same manner] There is too! I'm so shamedI'm blushin' all 
up an' down my back. Hark! [Music swells] 

DOR. [Unable longer to restrain bursts into a loud peal of laughter and 
appears from behind shrubbery, followed by Smollet. Ann gathers her clothes 
up around her and mattes a comic exit. Reuben stands shame-faced. Dorothy 
rushes to him and clasps him around the nec\ and kisses him. Smollet enjoys 
the scene] Oh! You dear darling old dad and so you've been and gone and 
done it! How delightful! Would you believe it, Lieutenant that boy that 
child actually in love and never let his mother know a word about it! 
[Laughs] But I'll pay you up for it, sir! [Shading finger at him] But I'll 
taJ(e you away from her. [Laughs] She shan't have you there! She's a de- 
signing minx that's what she is! She has taken advantage of my absence 
to lead you away! I always told you to beware of the female sex! Here hold 
up your head [Laughs] Now, tell me the truth. What was she saying to 
you? [Music dies away] 

REU. She wanted me to go to her wigwam an' be her squaw! [Dorothy 
and Smollet laugh] Dorothy don't say anything about it, will ye? [She 
laughs] Ye needn't laugh. You know how it is yerself! 

DOR. Well, I shan't. [Patting his cheeks] It shall fall in love if it wants to 
and its mother won't plague it a dear darling old popsey-wopsey! 
[Laughs] 

REU. [Looking \ind of sheepish] It was kind o' mean to sneak in on a 
feller. [Laughs] Lieutenant, I thought you 

SMOL. Don't blame me, Mr. Foxglove. I only obeyed orders! 

DOR. [Turning Reuben around] Let us look at you! What a lot of but- 
tons! What fun you will have losing them! [Seriously and nestling up to 
him] You won't let anyone but Dorothy sew them on, will you father? 

REU. My darlingthere's nothin* on this earth'll ever take your place in 
old Reuben's heart be sure o' that. [Lifting her face between his hands and 
pissing it] 

DOR. [Nestling] I like that! [Then quickly changing] Where's Rachel? 
I'm dying to see her. Lieutenant, please find her for me. 

SMOL. Certainly. [Crosses to house and exits. Roanofye's music] 

DOR. Father [Smiling and hesitating] I want to tell you something, 
[Clasps her hands and hesitates] It's a great secret but, oh, such a sweet 
happy secret! I'm [Roano\e enters R&.E] 

ROAN. Primrose! 

DOR. [With a scream of joy rushes to his arms] Roanoke! 

REU. [Smiles to himself] Ya-a-s a great secret! [Exits into house] 



"THE MINUTE MEN" 93 

ROAN. Roanoke feared he had lost his sweet Primrose forever 

DOR. She told him she would corne. Did he doubt her? 

ROAN. He doubted those who took her from him but he holds her in his 
arms once more. [Fiercely] They shall never tear her from them again. 
[Music dies out} 

DOR. Tut! Tut! Tut! You must not look so fierce [Laughs] Remember 
you are not an Indian any more and your name is not Roanoke it is 
Harry! [Laughs] 

ROAN. [With disgust] Laugh! The name of a baby! Roanoke is a mighty 
name. 

DOR. [Repeating as if to taste the words} Roanoke is a mighty name. 
[Half to herself] I love it. Let me look at you. How handsome you do look 
in your fine uniform and yet I do not know but that you were grander in 
your old savage dress! 

ROAN. [Starting to go] Roanoke will put it on again! 

DOR. No! No! No! [Laughs] 

ROAN. Roanoke, too, loves it best. It was for her he put on this. [Dorothy's 
music] 

DOR. And for her must he wear it to the end! It is this uniformcover- 
ing hearts like his brave, honest hearts that is destined to give the world 
its mightiest Nation. Bring [Laying hand on coat. Then sadly} or send 
this back to me stained worn bloody if need be and I will worship it 
and you my Indian soldier hero husband in life or death! 

ROAN. Roanoke hears! [Proudly} His heart beats! His veins swell! His 
breath comes thick and fast! He pants to show the Primrose what brave deeds 
hell dare for her sake! 

DOR. And now Harry [Laughs. He gives her a loo\. She corrects} 
Roanoke sit down. [Seats him on old plow comes around and seats herself 
between his \nees. Throws head bac\ and arms around his necJ(\ I am going 
to introduce you to a person you have hitherto ignored but whose close 
acquaintance and friendship it will be very necessary for you to court in the 
future I am going to [Laughs} introduce you to the first pronoun I 
[He loot(s as if he could not comprehend} say I love you! 

ROAN. The Primrose loves Roanoke! 

DOR. No! No! No! [Laughs} You love me! 

ROAN. Roanoke loves the Primrose! 

DOR. [Laughs} How stupid! Here! Repeat just what I say. Understand? 
[He tries to comprehend} Say I understand! 

ROAN. [Face lighting up] I understand! [Pleased] 

DOR. That's right. [Delighted] Now say after me I 



94 JAMES A. HERNE 

ROAN. I [Pleased with himself] 
DOR. Love 
ROAN. Love 
DOR. You 
ROAN. You 
DOR. Capital! And I will 
ROAN. Capital! And I will 

DOR. [Laughs and continues} Obey you in all things! 
ROAN. Obey you in all things! 
DOR. Good! 
ROAN. Good! 

DOR. Hush! [Puts hand over his mouth] Now listen and do not speak. 
[Changes her whole manner] My father will be here today. 

ROAN. [Fiercely jumping up as if comprehending the meaning of the 
visit] No! No! He shall not 

DOR. [Soothing him] Hush! [Smiling in his face] You promised to obey. 
[Changes manner again] He is my father and during these past few months 
that I have lived with him, he has been so kind so good so gentle he 
suffers so terribly for the wrong he did my mother he loves me so dearly 
and he is so sad and lonely that I have grown to pity to love him. 

ROAN. I understand! [He must change here to broken-hearted submission, 
all his Indian fire gone] 

DOR. And so at last I have come to think that perhaps it is my duty 
not to leave him to himself. That my mother would be happier in Heaven, 
were I to help him atone for his sin. That she would look down and even 
smile to see us together father and daughter! 
ROAN. [As before] I understand. 

DOR. We are all called upon at some time to make sacrifices in this world 
and I believe we are purer nobler holier for having made them 
bravely heroically ! 

ROAN. I understand. [As before] Your father will take you from me. 
DOR. If it is his will that I accompany him 
ROAN. You will obey ? [Same tone] 
DOR. He is my father! 
ROAN. You will obey? [Same tone] 
DOR. [Slowly and sadly but firmly] I will obey. 
ROAN. [Loo\s at her a moment then raises his hands to heaven and in a 
sudden heart-broken burst cries ] My God! My God! My God! [Bursts 
into tears and his head falls on his breast] 
DOR. [Awe stric\en } almost afraid to breaf^ in on his grief] Roanoke! 



"THE MINUTE MEN" 95 

ROAN. [Without looking up] Roanoke no more! [Hoarse whisper} That 
name is lost to him forever! 

DOR. [Winding arm around him} Roanoke! 

ROAN. [Without looking] Silence pity silence! 

DOR. Are you then the only sufferer have I no heart to surge, to break, 
to part ? Do I not love you ? And must I not give you up ? [Bursts into tears 
on his breast. He takes her in his arms} 

ROAN. Does your father know you love me? 

DOR. He does! 

ROAN. I understand. The Indian's love would stain. 

DOR. Not Indian you are 

ROAN. Indian by nature if not by birth. He would wed you to one of his 
own proud people! 

DOR. [With decision} That shall he never do! 

ROAN. [Quickly, taking both her hands, holding her at arm's length, loop- 
ing steadily into her eyes} Promise that! 

DOR. [Firmly} I swear it! 

ROAN. Let me then seek him. I'll not rave. [Fiercely} I'll not kill him. 
I'll beseech [Soft} I'll plead I'll fall upon my knees and implore him not 
to part us! 

DOR. And if he will not listen? 

ROAN. I, too, will obey! 

DOR. My brave lionhearted Roanoke! [He gazes into her face a mo- 
ment, then pulls her to his breast and gives her a long passionate %iss. Music 
changes to lively air. At the same moment enter Smollet from house. She 
hears his step and turns all smiles} Lieutenant^ I was just telling Roanoke 
how cleverly you succeeded in bringing me before my father after all! Ha! 
Ha! Ha! [Laughs heartily} 

SMOL. [Laughs} Ah, it was quite an accident. Hampton really had more 
to do with bringing it about than I after all. I was going to remark that I've 
searched the whole house and the only female I could find was Mrs. Camp- 
bell and she seemed endeavoring to escape to the roof by way of the kitchen 
chimney! [Laughs heartily in which Dorothy joins. Music swells. Enter 
R.iJE. Sir Frederic^, Rachel and Captain L.^E, Dorothy runs to Sir Fred- 
eric^. Roanoke retires R. Captain comes C. meeting Sir Frederic}^. Dorothy 
after embracing Sir Frederic^ goes to RacheL They 'kiss, etc. Smollet salutes, 
as Sir Frederic^ enters and t after they ta\e positions, Sir Frederic^ eyes* 
Roanoke sternly. Roanoke endeavors to read his fate in Sir Fredericks face 
and fails] 



96 JAMES A. HERNE 

CAPT. Sir Frederick welcome once more. Allow me to present my long 
lost son! [Roanofe advances and bows respectfully; Sir Frederic^ with much 
ceremony and dignity. Dorothy watches eagerly and is telling Rachel] 

SIR F. [To both] I congratulate you both. [Then to the Captain Roano^e 
turns away disappointed] My regiment will be the last to leave the city. I 
obtained through the kind courtesy of your commanding general permis- 
sion to pay my respects to you before departing. [Music changes] 

NED. [Outside R^JE.] No violence, boys! Bring him before the Captain 
that's all! [Enter Ned as Continental Captain followed by Two Continental 
Soldiers forcing on Dy\e who has on a British soldier's coat and belt, etc.] 
Captain, here's a gentleman to see you! [Ned has bundle of papers] 

CAPT. Dyke Hampton! Look at me! \Dy\e does not} Ah! You dare not! 
Your cowardice does you credit. You should be ashamed to look upon the 
man you have so deeply wronged! [To Ned] Where did you find him? 

NED. We were searching his house and unearthed him trying to burn 
these papers. He had traded coats with a soldier and was endeavoring to es- 
cape that way. But my men were too quick for him. Here are the complete 
proofs of his villainy your brother's will the identity of your son in the 
dying confession of the savage to whom he was sold and the statement of 
his father acknowledging the misappropriation of your property during your 
absence! [Gives papers] 

CAPT. [To Dyf^e] What have you to say? [Looking over papers] 

DYKE. Only this I love your daughter. To force her to my arms I did it 
all. No punishment you can inflict will equal the torture of losing her. Do 
with me as you will. I'll speak no more. 

NED. What shall be done with him, Captain? 

CAPT. [To Sir Frederic^] He wears your uniform, Sir Frederick. 

SiRp. [Shading his head with contempt] No! We hold no league with 
cut-throats and murderers! 

NED. I have it Allen [To one of the men] strip that coat off his back. 
Give him the blue and buff. If he attempts to shirk the slightest duty belong- 
ing to it, shoot him on the spot! [Music changes. They ta\e DyJ^e off. Ned 
goes to Rachel and Dorothy. Sir Frederic^ and Captain retire. Reuben and 
Ann enter from L.2JE. not noticing balance of characters] 

REU. What I was a'goin' to say when we was interrupted that time was 
[She loo^s stolidly into his -face] that is I've been a'thinkin' that is now 
that [Desperately] Say, what's the use a'lyin' when the truth ken be proved 
agin ye. Ann Campbell I'm -say, be ye ever troubled with cold feet? [She re- 
mains immovable. He puts his arms around her waist and \isses her on cheet^. 
She turns and falls on his breast. Business of Reuben. Drum corps heard in 



"THE MINUTE MEN" 97 

distance. Sees party. Tries to rouse her. She is immovable] Say Ann [Then 
to party apologizing, not realizing what he says} Ann's busted her gallusses 
an' I'm a'fixin' 'em for her [To her} Say, Ann they're all a'lookin* at ye! 

ANN. [ Recovering, half fainting half crying] Let *em look! I don't care 
a continental cuss! It's been many a year since I've hed my arms around a 
man's neck an* now I hain't a'goin' to let no thin' choke me off! Reuben, 
I'm yourn, an' 111 stick to ye like death to a nigger an' don't ye forgit that! 
[Reuben and Ann retire to Dorothy as Sir Frederic^ speaks. Dorothy's music} 

SiRp. [To the Captain speaking with severity] I am determined and it 
shall not be otherwise. [Gently] Dorothy, my child, come here. [She comes 
tremblingly. Rachel and Ned to L.U. To Roanoke- sternly] Approach, sir! 
[Roanoke does so] Captain Winslow, I am called to battle for my King and 
country. To your care I commit my child. Should I fall, here {Giving 
paper} is that will secure her my name and fortune. [To Roanoke] You, sir, 
love my daughter. Go forth. Fight as bravely in your cause as be sure I shall 
in mine. She will watch and pray for your return. Dorothy [Taking her to 
his breast} be happy! I give you freely give you to the man you love! [Kisses 
her, passes her to Roanofye, then loo^s up and says as if to himself] Am I for- 
given? 

DOR. [After embracing Roanofe, returns weeping for joy, to hide herself 
on her father 's breast} Oh, father! For now you are indeed my father! 
[Half laughing half crying} Roanoke why don't you say something? 
[Goes up to Reuben. He ta\es her in his arms Jesses her} 

ROAN. [Who has been spellbound} Roanoke has no words! His voice is in 
his heart. The silent water is ever the deepest. So be his love and gratitude. 
Let his eyes speak. Awed by the sublimity of the gift, let him stand dumb in 
the majestic presence of the giver. [Dorothy brings Reuben down. Roanoke 
retires. She has Reubens left handta\es Sir Fredericks right. They looJ^ at 
each other a moment. She loo\s into the faces of both. They loo\ at her, then 
at each other. They smile. She joins, then pisses both their hands, laughs 
through her tears and runs up to Roanoke. They go to and receive the con- 
gratulations of the rest of the party} 

SIR F. Mr. Foxglove what shall I what can I say to such a man as you 
have proved yourself to be! Take this. [Offers poc\etboo\. Reuben shades 
head} Not as a reward but as a token of my sincere and honest love [Reu- 
ben still hesitates} for my daughter! 

REU. Sir Frederick, I know ye mean well but what's the use'n lyin' 
when the truth ken be proved agin ye. I love that child. Ef it hain't askin* too 
much, I'd like to hear ye say our daughter! 



98 JAMES A. HERNE 

SiRp. [Extending both hands. They loo\ steadily into each other's eyes- 
both affected] For our daughter's sake! 

REU. [Shading him heartily by the hand wiping eyes] Then, I'll take it. 
[Ta\es poc\etboof(\ It'll help Ann an' me set up shop! [They go up arm in 
arm and join party] Say, Captain, you ken pay Ann's wages to me hereafter! 
[Dorothy and Smollet come down] 

SMOL. I certainly congratulate you, Miss -Miss [Smilingly] What shall 
I say, Foxglove or Shelton? 

DOR. [Laughing and pointing to Sir Frederic^ and Reuben who are still 
arm in arm] Both! See! [They both laugh] 

SMOL. Well, really you have the most extraordinary family complications! 
When I first met you you were the mother of one father and now you are the 
daughter of two! [Both laugh] 

DOR. Lieutenant I am indebted to you for many acts of kindness. How 
shall I thank you for them? 

SMOL. [Lightly, but with a strata of deep feeling underneath] Pshaw! I've 
done nothing any other fellow wouldn't have had himself cashiered for the 
privilege of doing! The society of a charming lady [Bows. She smiles] is not 
so often thrown in the way of a poor devil of a soldier that he can afford not 
to be civil! True I did at one time hope that you [She loo\s at him appeal- 
ingly] Well no matter. [Seriously] I've passed the happiest hours of my life 
in your company. If I, in return, have afforded you any amusement 

DOR. [Supplicatingly and smiling] Pleasure let us call it pleasure, Lieu- 
tenant! 

SMOL. [Looking at her curiously] Pleasure! Why, I'm content and if cir- 
cumstances will only permit I will dance as merrily at your wedding as if 
it were my own. [Bows very ceremoniously. She curtseys very low. Bugle 
calls "'Five" heard in distance] 

SmF. Hark! That bugle warns me to depart. Farewell! [Ta\es Dorothy 
in his arms, pisses her fervently] 

DOR. [Clinging to him] Father! [Calmly] Is it right that you go now? 
Right that you should sever every earthly tie [With a desperate effort brings 
herself to say] Right that you [Looking at Roano^e and Reuben, then bac\ 
to him] should fight against him [To Reuben] against the husband of your 
child? 

SmF. Hush! A soldier has no choice. Love is strong, but honor and duty 
are impregnable. I go. But if I live I will return to pass my days among you 
and ask no sweeter resting spot than in a land hallowed by a mother's suf- 
feringsblessed by a daughter's love. [Drums have constantly increased, are 
now quite loud. Calcium lights on. All the characters retire LJf . Enter L.U. 



"THE MINUTE MEN" 99 

E. Drum Corps playing. They march off R.iJE. Then a company of soldiers 
with their officers. They march off R.iJE. Cannons boom. Bells ring. Second 
Company. Same. Drum Corps. Third Company. Yankee Doodle. All the la- 
dies, handsomely dressed, strewing -flowers. General Washington on horse- 
bac\ accompanied by his Generals all made up in character and on horse- 
bac\. More soldiers. The stage is completely filled. Characters shout. Ladies 
wave their handkerchiefs. Soldiers all shout. Washington lifts hat. Grand 
Tableau and] 

END OF PLAY 



[DRIFTING APART 
in its first version, known asj] 

MARY 
THE FISHERMEN'S CHILD 



CAST OF CHARACTERS 



[First performance on any stage, The Peoples Theatre, New 

May j, 1 



JACK HEPBURNE, shipper o f the "Dolphin" rough 
but honest, with a "failin " 

PERCY SEWARD, son of a rich mother whom he loves; 
a good fellow but a trifle sentimental 

SILAS CUMMINGS, "Dep'ty Sheriff, Farmacuterist 
and Clarinettist" 



HARRY MERTON, of Percy's set 
ALECK SAUNDERS 
JOSH WHILBECK 



two of Mary's fathers 



MARY MILLER, belongs to the village, the fishermen's 
child 

MARGARET HEPBURNE, Jack's mother 
MRS. SEWARD, Percy's mother 

HESTER BARTON, stage struct^, wants patronage and 
endorsement 

Miss STANLEY \ 

Miss FAIRCHILD of Percy's set 

Miss EASTERBROOK 

LITTLE MARGARET, Mary's child 

FISHERMEN, VILLAGE GIRLS, LADIES, GENTLEMEN, ETC., ETC. 

TIME : PRESENT DAY. 

ACT I. NEAR GLOUCESTER, MASS. 

ACT II. JACK'S CABIN, GLOUCESTER. 



JAMES A. HERNE 

H. M. PITT 

C. W. BUTLER 

!PHINEAS LEACH 
ROBERT ALEXANDER 

KATHARINE C. HERNE 
MRS. CHARLES RAE 
HENRIETTA BERT 



VIC REYNOLDS 
MAUDE JEFFRIES 
ADELAIDE NELSON 
LUCILLE PEARSON 
LITTLE DOT WINTERS 



io 4 JAMES A. HERNE 

ACT III. HOME OF PERCY SEWARD, BOSTON. 

ACT IV. ATTIC IN TENEMENT HOUSE, NORTH END, BOSTON. 

ACT v. JACK'S CABIN AS BEFORE. 



ACTL 

SCENE i : Near Gloucester, Mass. Fishing village on beach. Wharves, shipping 
warehouses, etc. on R. Gloucester in distance on R. 

TIME: August, present day. Sea with fishing fleet at anchor in distance sup- 
posed to have arrived before the calm jell. The horizon that hazy gray that 
betokens extreme heat; heat lightning at intervals. Sea is dead calm. The set 
is a fisherman's hut R., a little better than its fellows; it is built of the hull of 
G vessel, has a low porch and step; overhung vines; bench beneath window, 
On L. old wrec\ to worl^ and wor\ lights behind. A piece or two of wreckage 
on shore; bead cloth down. 

Thunder; lightning; clouds and rain all to wor\ during act. Wind and sea 
to move schooner, three master, to worJ^ on, go about, tac\, drop anchor. Men 
to go aloft, furl and ta\e in sail. Boat with men to leave schooner. Row to- 
wards shore. Sun shines brightly at rise. 

Music. 



and Josh discovered removing bars, etc., from dory, which is beached 
C.R.; they are rough fishermen about 50, with weather-beaten faces and 
brown hands. Alecl^ smokes clay pipe. There is a laugh outside R. by Mary 
and Hester; they run on, arms about each other's waist. They are followed by 
Percy Seward, a tall, handsome young man about twenty-three, dressed in ele- 
gant yachting costume. Hester leaves Mary, goes to Alec\ and Josh, slaps 
them familiarly on the baci^; they turn and greet her smilingly, she is a rol- 
licfyng good-natured girl, dressed plainly but picturesquely and coquettishly. 
She and the men converse in dumb show; the men point off to the fleet; 
at the sea, s%y, etc.; she sits on the edge of dory, and swings her heels, 
sits on hungers, Josh stands leaning on oar; Nicl^ is spinning a yarn to Hester, 
Josh listening. They enjoy the scene without interfering with that of Percy 
and Mary. 

PERCY. Really, Miss Mary, I think it quite unreasonable, to say the least, 
to laugh at my protestations o lo 

MARY. [Laughing and holding up her finger] Ah! Ah! 

PERCY. Respect, I'm sure I see nothing in my infatuation to laugh at. I do 
lo [She looJ(s at him, he checks himself} admire you, and why not? Every- 
one here loves you, 



io6 JAMES A. HERNE 

MARY. [Seriously] And that is the very reason you should not. I am an 
orphan poor ignorant 

PERCY. [Interrupting] No! Not ignorant. 

MARY. Well, unlearned, except for such learning as one gets from these 
rough, honest people, among whom it has been my fortune to be born. You 
say you are rich I have been taught that the rich are proud are you proud? 

PERCY. Yes in the just pride that always accompanies wealth when tem- 
pered with refinement and good breeding there are different kinds of pride. 

MARY. Well, I too am proud! You say you have a dear mother who loves 
you and whom you love. [Taking his hand] I honor you for that I can only 
love the memory of mine her I have never knownneither father nor 
mother; my father they say was lost at sea. The shock killed my mother and 
I was launched as I may say tempest tossed, upon the sea of life an orphan. 
The fisher folks cared for me, first one and then the otherI was known as 
"the fishermen's child"; at the age of three years Mrs. Hepburne took me as 
her own. I have lived here [Points to cabin] with her and [Blushes] Jack ever 
since. 

PERCY. Yes, I have heard that story and will confess that it was that that 
first awakened a feeling of lo [She loo{s at him] I see nothing in it to pre- 
vent your listening to me. 

MARY. Everything the fact of my being what I am and your being what 
[Hesitates] you say you are prevents say that you are honest and would 
make me your wife, which [Hesitates] 

PERCY. You have no right to doubt. 

MARY. [Avoiding that] Would it not break the heart of that mother you 
l ove to see y ou married to the "fishermen's child" would she be willing to 
receive me as a daughter ? 

PERCY. Well [Hesitates] she might not at first but eventually her love 
for me 

MARY. There you see that with all your learning I am wiser than you, in 
that wisdom born of instinct, and which none possess to such a degree as the 
child of nature granting even that your mother how I love that name! 
with that holy mother love before which all other love palls as the dew melts 
before the sun's hot rays, should cast aside all pride of birth, all thought of 
station and for her "boy's" sake clasp me to her breast in loving welcome 
how would it be with you after the first flush of fancied bliss had passed? 
Would you not tire of your fisher bride would you not shame to present her 
to your fashionable friends blush at her awkward ways and country man- 
ners would you not soon learn to draw comparisons between her and the 
proud and cultured ladies of your class ? 



DRIFTING APART 107 

PERCY. No! Never I swe 

MARY. Hush! Yes In spite of yourself would come the doubt as to the 
wisdom of your choice you would learn to ponder on what might have been 
the caresses you once so eagerly sought would gradually grow irksome 
following this would come coldness neglect and finally abandonment for 
you perhaps remorse for me the blankness of despair. Ah! No, best leave 
the daisy of the field in the field, where the hand of God hath sown it! Trans- 
plant it to the hothouse it will wither fade, fall and die. 

PERCY. You have painted a gloomy picture. 

MARY. Let us say a true one. There, let us be friends, you know but little 
of me I nothing of you save that you have flattered me with your attentions 
that you are a gentleman I feel and as such there is my hand go back to 
your city friends, choose from among them one more worthy to share your 
life than I and you will one day thank me for having saved you from a step 
you would have regretted to your dying day. [Hangs her head silently, 
brushes away a tear, loo\s up smilingly, laughs} Besides, do you not know I 
am not free, that I am already promised to another? 

PERCY. Yes to Jack Hepburne. Mary may I call you so? 

MARY. Yes, my name is Mary. 

PERCY. Is he worthy of you you have drawn a picture of your fancied 
life with me have you ever drawn one of your life with him ? 

MARY. Yes to live always here, among the rough, kind hearts that have 
known me from birth to be the staff of his aged mother's declining years 
and perhaps to close her gentle eyes in sleep at last to be a fisherman's wife, 
true and loyal, to make his home bright and happy with my smiles and cheer 
him with my love to bid him godspeed on his departure and welcome home 
on his return. Perhaps one day to place within his arms a fragile image of 
himself, to kneel with him and thank the giver of all good for the boon of his 
bestowal the greatest in his gifts, the blessing of motherhood. 

PERCY. But do you not fear that he 

MARY. May one day not return [Sadly] Yes I have thought of that, not 
with fear, however, for we fisher folks are not much given to fear but with 
a sort of dread but we are a pious people here the fisherman's life is a 
hazardous one at best, and we are taught that "He that giveth also taketh 
away," and to say "Thy will be done." There are worse things than death in 
this world. 

PERCY. I do not mean sea faring dangers, I mean, pardon me his love 
for 

MARY. What he calls a social glass? 

PERCY. Yes, I have seen 



ro8 JAMES A. HERNE 

MARY. So have I. All our people here drink more or less, they seem to in- 
herit it from their cradles. It is as natural for a fisherman to drink as it is for 
the fish they risk their lives to catch 

PERCY. Have you then no fears that this pernicious habit may grow upon 
him and one day wreck his life and yoursyeseven that of the unborn babe 
of which you just now spoke? 

MARY. Hush please don't, please don't. I dare not look so far as that. 
Jack is young, and thoughtless, he is rough, but he is honest as he is rough, he 
loves me [Hastily] that I know, and he has promised me that on the day I 
become his wife he will give up drink forever. I believe him, I trust him. I 
must do so, for do I not love him? But, [Drying her eyes] there, there, here 
I stand chatting with you while his vessel lies in the offing waiting only for 
the breeze to freshen to bring her safely to anchor, and him to his mother's 
arms. I must in and help prepare his welcome, so good-bye for the present. 
[Gives her hand] Forget all that has passed between us, and please do not 
refer to it again. Believe me you will find your life elsewhere. 

PERCY. Mary. [Seriously, respectfully, and with deep feeling] I can never 
forget, I accept the sacred title of friend. Let me think of you in my own odd 
way, I believe I'm better for having known you, and I hope [Corrects him- 
self] I know Jack will be, must be nobler for becoming your husband. And 
now let me exact one promise, and that is, should the day ever come which 
God forbid that you need a friend, you will seek, as you will surely find, 
that friend, in Percy Seward. 

MARY. [Deeply affected] I promise, [He raises her hand respectfully to his 
lips; she blushes, bows her head and exits into cottage; he raises his hat; as 
she is off, he turns away with a sigh] 

PERCY. Heigho! Percy, old fellow, you had best order the Sybil to weigh 
anchor and resume her cruise. I'm afraid this is a bad case. You've met pretty 
girls before and got away scot free, but I'm afraid the fisher girl has unwit- 
tingly meshed you in her net. By George! what a brainy creature she is, and 
what wisdom for one who knows nothing of this bright, beautiful world, 
save what is found here in this fishiest of fishing villages. She is a gem, and 
only needs proper setting to be of great price. After all she may be right. You 
might tire of her; in trying to polish the diamond we might destroy its lustre. 
She is happy here, she loves this Jack, and I daresay he loves her in his rough 
way. Far be it from you, Percy Seward, to cast one shadow across her path. 
No! No! You are her friend, let that content you, and the province of a 
frienp 1 is to stand by when danger threatens, and that you'll do Percy, for 
you're a pretty good sort of a fellow, although a bit sentimental. [During this 
speech Nic\ and Josh have finished their story and gone off R.UJS. At 



DRIFTING APART 109 

"shadow across her path" Hester has gone with them as jar as the entrance, 
then returning comes R. of Percy who has crossed L. in meditation; she gets 
in front of him, stoops, loo^s up into his face] 

HES. A penny for your thoughts! 

PERCY. [Laughs] I don't know that they are worth a penny. 

HES. Not worth a penny! Of who ever could you be thinking then? 

PERCY. [Laughingly] Of a very idle, purposeless sort of gentlemanly vaga- 
bond myself. 

HES. Oh, Mr. Seward! You're in love, hain't you ha! Ha! Ha! 

PERCY. A natural consequence with a rich-only-to-please himself in the 
world young fellow, on the one side, and the sweetest, prettiest girl in the 
world on the other side. 

HES. [With a low courtesy] Oh! Mist-e-r-Seward 

PERCY. [Alarmed] Good gracious, Miss Barton, I didn't mean you. 

HES. Why, you said a rich young fellow on one side and the sweetest, 
prettiest girl in the world on the other, didn't ye? 

PERCY. Yes I confess I 

HES. Well! Hain't you on the one side and hain't I on tother? 

PERCY. Yes there's no denying that but I I 

HES. There, there don't stammer, it always puts me in a perspiration to 
hear anyone stammer ha! ha! ha! I forgive ye it's only another image scat- 
tered. 

PERCY. [Correcting her] Idol shattered! 

HES. Eh? 

PERCY. Idol shattered! 

HES. Oh! Yes Idol shattered. I knew it was some kind of a image I 
only heard it once it was in the theater up at the Town Hall, Lampey's Un- 
equalled Dramatic Alliance from the Boston Museum, every member a star, 
in a carefully selected repature. 

PERCY. Repertoire! 

HES. I guess so. Six days only, three grand performances daily, mornings 
at ten, afternoons at two, evenings at eight, admission ten cents, a few very 
choice seats reserved at five cents extra, change of bill at each performance 
special provisions for families from the country desiring to eat lunch in the 
theater 

PERCY. Why! Of course, they could not eat lunch without provisions 
see? 

HES. \Loo\s at Mm] Don't interrupt me lemonade, popcorn, candies 
and peanuts, served by gentlemanly attendants no whistling, stamping or 
catcalls allowed did you ever see Lampey's Constellation? 



no JAMES A. HERNE 

PERCY. Never heard of it before. 

HES. Why, you live in Boston, don't ye? 

PERCY. Yes born there. 

HES. And ytnever heard otLampey ^Constellation ? 

PERCY. Never! 

HES. Don't ye ever go to the Museum? 

PERCY. Oh yes! Frequently. 

HES. Well They're from the Museum. 

PERCY. I dare say a very long way from it. [Laughs] 

HES. You needn't laugh. Lampey's great. I've seen all the constellations 
that come here I've seen Pcc%s Bad Boy, Uncle Torn, Ten Nights in a Bar- 
room, Alvin Joslyn and all of them and I like Lampey's in "Alonzo the 
Brave" better than any of them but then mebbe you see more actin' in Bos- 
ton then we do down here. 

PERCY. Very likely. 

HES. I wish I was an actor. I wish some rich man would fall in love with 
me and put me on the stage. \Loo\s at him archly, laughs} Lampey says I 
only needs patronage what's that? 

PERCY. Why, when some person high in position, such as the Governor or 
President in this country, or the Prince of Wales in England, endorses you 
and introduces you into his set. 

HES. Is the Prince of Wales coming to Gloucester? 

PERCY. Not that I've heard. 

HES. Because he might endorse me Lampey says the more patronage, 
good clathes and less talent you have nowadays, the better youll draw. Si! 
he won't hear of my going on the stage. 

PERCY. Si ? 

HES. Yes, Si Cummins keeps the drugstore up on the corner yonder, 
haven't you seen his sign? Silas Cummins, Depity Sherflf and Farmacuterist, 
Manif acter'r, Cummins' Bloodroot, Anti-appetite pills, Cummins' Corn Salve, 
Cummins' Liver Expander, e-t-c., e-t-c.,, e-t-c. 

PERCY. Oh! Yes, I've met the gentleman. 

HES. Well, him and me's engaged, but he's got no soul for high art. Lam- 
pey says he's of the world, worldly, but he plays the clarinet beautiful and 
he could lead the band waggin splendid who leads the band waggin of the 
Boston Museum? 

PERCY. I don't know. [Laughingly] I don't think they have one. 

HES. No band waggin! Why how on earth do they let 'em know there's 
goin' to be a show. [Silas heard off R. playing clarinet: "The Girl I Left 



DRIFTING APART in 

Behind Me." Hester hears him, with delight, claps her hands} There's Si! 
Ain't he splendid! 

PERCY. Magnificent! [Silas plays away quite absorbed, gets down between 
them, finally sees them, blows a terrific blast in Percy's ear, Percy gives a start, 
claps his hand to his ears] Mercy on us! 

HES. [Without moving, smiles complacently] Oh! Couldn't he lead a 
band waggin though? 

Si. I beg pardon Mr. Seward, jest practisin'. 

PERCY. Yes, so I perceive don't mention it, I beg. 

Si. Didn't startle you, did it? 

PERCY. Oh! No! Not at all. 

Si. [Patronizingly] But pshaw! I suppose you've heard musicianers afore? 

PERCY. Well, yes, some few. 

Si. Ever heer Baily Cross? 

PERCY. Never. 

Si. He was a powerful musicianer, I've seen him play the trombone and 
Macbeth the same night. He's dead! 

PERCY. [Aside] He ought to be. [Aloud] Is he? 

Si. Yes Trombone busted in the last act an' blowed the top of his head 
off. Somebody loaded it while he was on the stage "a ministerin' to a mind 
deseased." 

PERCY. Rather sad! 

Si. Yes it ended the piece! Musicianers are scurcer now. [Plays] 

PERCY. I wonder, Mr. Cummings. 

Si. Cummin s. 

PERCY. Isn't there a final G to you name? 

Si. Not as I've heerd on say, Hester, is there a final G to Cummins? 

HES. [Who has been sitting on bench R*] Yes! G.R. 

Si. Oh, yes, Gr. that means gunior see, my father was old Si Cummins, 
and of course I'm Si Cummins Gr. 

PERCY. Yes, I see. Well, I wonder you don't go to the city. Such talent is 
wasted here, that is to a certain extent. 

Si. Well, I've hed a good many offers, but I'm kind o' tied here. [Plays] 
Think I'd kinder astonish 'em up there don't you? 

PERCY. Oh, I've no doubt of it at all. 

Si, [Playing] The've hed nothing like me up there. 

PTRCY. Not just exactly like you you would be a novelty. 

Si. Well, you might speak to 'em when you get hum I might be in- 
dooced, jest for a short while, though I couldn't stop long. 

PERCY. No I think a short engagement would be best! 



ii2 JAMES A. HERNE 

HES. [Who has been acting to herself now crosses to Percy in an abstracted 
manner} "Two souls with but a single thought, two hearts that beat as one." 
{Throws herself on Percy's breast, Percy folds her in his arms and Jesses her. 
Silas turns her quickly around to L.] 

Si. Say look a here, ef you've got any more soul than you want you jest 
give it to me. [Percy laughs] 
HES. [Pouting] Oh Silas, you're jealous. 
Si, No, I hain't jealous. 

HES. It was only a bit of stage business that I was practising anyhow. 
Si. Well, you just practise it on me, I can stand it. 

NICK. [Outside R.] There she comes mates, see her creepin' on over to the 
westward. [Enter Nic%, Josh, fisherman and female villagers. NicJ^ has ship's 
glass, all group in semicircle on R. of stage} 

..--- Josh Silas 

* Nick * 

- - - Hester * Percy 

* * 

[Breeze is now seen to freshen and move the sea, gradually growing stronger. 
Enter from cottage Mrs. Hepburne and Mary. Mary leads Mrs. Hepburn? to 
seat on bench and stands beside her} 

MARY. There mother, sit there, his first thought is sure to be of you, and I 
wish your face to be the first to greet his eyes. 

MARG. Heaven bless you, my child! 

NICK. [As breeze freshens} There she comes, isn't that a glorious sight! 
What can cheer the heart of the homeward bound sailor like the breeze that 
bears him to the mother he honors . . . \Loo\s at Margaret] and the girl he 
loves [Loo%s at Mary, who smiles and bows, glass to eye] Ha-ah see up go 
the sails, how gloriously they fill, now she weighs, see her stretch her arms 
like a huge giant after his sleep, she yawns, she struggles, she trembles like a 
schoolgirl over her first loveletter, now she starts. [The stage has been all ex- 
citement during this people peering over each other to catch a glimpse, Silas 
running from one spot to another, and getting ready to shout at every ex- 
clamation of NicJ(s; Mary's face radiant; Hester stands on tiptoe, two of the 
men make a chair of their hands, seat her in it and raise her upit doesn't suit 
she beckons Silas to come and stoop down he does so, the men ta\e her 
hands, she 'jumps on Silas bac\, the men holding her 'hands, and settles her- 
self to comfortably enjoy the scene} She's off, here she comes. [Schooner now 
worlds on from L. } tac\s, goes about, lowers sail, drops anchor] Huzza! [All 
shout. Men on schooner man yards; lower boat. Five men get into boat and 
row away, finally disappearing behind wrec\. All shout and wave hats. Hes- 



DRIFTING APART 113 

ter jumps up shouting, Silas jails, she jumps to stage, all laugh} And now, 
Hester, clear your pipes for a song of welcome to Jack Hepburne, the best 
skipper and truest mate that ever trod a deck. 

HES. {Sailor fashion} Aye! Aye! My hearties, and clear your pipes for the 
chorus. [Song and Chorus: as it ends glee is ta\en up off L., very distant. All 
listen; it comes nearer and nearer, the sound of oars is heard and the scene is 
worked up, till at end of glee, the boat touches beach, and ]ac\ jumps ashore. 
Men in boat cast painter ashore, men ashore grasp it and ma%e it fast to tog- 
gle, four men follow ]ac\. Girls and men all crowd around and grasp hands. 
Girls tyss their sweethearts. ]acJ^ goes directly to his mother, J^neels, embraces 
her} 

JACK. Mother! [Rises] Mary! [Clasps her to his heart and gives her a long 
passionate %iss. Note: Jacf^ must be tall and manly, handsome, about thirty, 
reddish brown hair and eyes, must be picturesquely dressed in half sailor, half 
fishing garb, clothes must be clean and -fit him perfectly, supposed to be his 
holiday suit. He sees Percy, who has crossed down L.] 

Sea 

Group 

"""""? 

- - - Mary, Jack 
Margaret * * Hester 

* Percy * 

R. Footlights L. 

JACK. Hello, a stranger! [Mary is about to spea\. Percy checks her] 

PERCY. Permit me to introduce myself Percy Seward, of Boston, on a 
yachting cruise. I dropped anchor in your charming bay, and drifted ashore 
some weeks since. I have been fortunate enough to make the acquaintance of 
Miss Miller and your mother as well as these other good people. 

Si. Hester, we're the good people. [Hester nods] 

PERCY. And have found them so entertaining that to tell the truth I have 
no desire to continue my cruise further. My yacht 

Si. I allus thought that was yatch. 

PERCY. The Sybil lies yonder and is at the service of yourself and friends 
during my stay. 

JACK. [Offering hand} Glad to see you, Mr. Seward, and thank ye kindly 
for your invitation, but after a fellow has had months of the geniwine article 
he don't hanker much arter playin* sailor. No offense and thank ye all the 
same. [Percy goes up t sees Silas and Hester, crosses to them} Hello Si! 
[Shades hands} and Hester! [Kisses her] Gone play actin 1 yet? 



n 4 JAMES A. HERNE 

HES. No, Jack, I'm waiting to be endorsed. 

JACK. [Crosses C] Well, mother, and you Mary, you'll be glad to hear 
that we've had a glorious trip, the finest of weather, the biggest catch o the 
year, and better than all, to learn that I'm to go no more to sea. 

MARY. [Springing to him] Oh! Jack! 

MARG. [Tries to rise, cannot] My boy! My boy! []ac\ goes hastily to her, 
assists her and holds her in his arms. Mary leans on his shoulder] 

JACK. True mother, my father lost his life in the service of Hemingway & 
Son I have labored faithfully for them since I have been able to tell a mack- 
erel from a cod, and for all this I've been given charge of the warehouses 
here, and there's $300 to be placed in the village bank for me the day that I'm 
married, and here's the letter that tells the good news. [Shows letter to Mar- 
garet and Mary, they eagerly loo\ over it] 

HES. [To Silas] Why ain't you given in charge of something? 

Si. I have been, ain't I Depity Sherff of this deestrict? [During this clouds 
have gradually darkened the horizon although the sun shines brightly on the 
stage. Horizon quite darJ(\ 

JACK. So now, Mary, my darling, here in the presence of these, my honest 
shipmates, whose dangers on the sea I shall no longer share I ask you to name 
the day that I may call you wife, and 

Si. Collar the $300, don't forget that Jack. [Omnes laugh] 

MARY. Jack, you have always had my heart, there's my hand. [Gives it] 
Let the day be when you will. 

JACK. [Snatching her to his heart and pissing her. Silas does same to Hester. 
All the men upstage do same to their sweethearts] No time like the present 
let it be now, send for the parson, [Boy runs off R] run for the fiddler 

HES. No! No! Here's the clarinette. [Points to Silas] 

JACK. We'll have such a jollification as never was. [All shout] Oh, mother, 
[Goes to her t pisses her] Mary, my own, my wife. [Goes to embrace her. The 
horizon has become blac\ by this. At the word "wije" a terrific flash of light- 
ning and a crash of thunder. At its sound all the characters who had their 
hats in hand in act of shouting, pause. Picture of alarm and fear; Margaret 
springs up in alarm, Mary shrieks and hides her head on Jack's breast; ]acl^ 
loo\s alarmed but defiant. Hester alone faces the sea and loo\s boldly at the 
storm. Silas hides himself behind her] 

MARY. Oh, Jack, if that should be an evil omen! 

JACK. Nonsense. [Half superstitious himself] It's but a summer storm, and 
see how brighdy the sun shines on us what matter the storm, it cannot harm 
the sea look up, there is no danger. [A terrific flash of lightning and crash 
of thunder, a bolt descends and fires ]acJ(s ship] 



DRIFTING APART 115 

NICK. The Dolphin's struck! Jack, your ship's on fire! [Jac^ is panic- 
stricken. Clouds move on, rain descends in torrents in the distant horizon. 
Sun shines brighter than ever on shore. Margaret staggers to C.] 

MARG. [With a superhuman effort] Kneel my children. \]acJ^ and Mary 
\neel. Margaret raises hands aloft] Father, we are in Thy hands, "Thy will 
be done." 

(Chorus "Rock of Ages") 

PICTURE AND END OF ACT 

Percy 



Margaret 

* * * Hester 

Jack Mary * Silas 



ACT II. 

TIME: Fifteen months elapse. It is Christmas Eve. The interior of cabin repre- 
sents an old ship's cabin; no plaster or whitewash, all oa^ timber with heads 
of wooden pegs, iron bolts, nuts, etc., seen. Good thickness of pieces on all 
doors and windows f borders represent roof or decJ^, everything very clean. Ob- 
long window C. with white muslin curtain on drawing string, curtain drawn 
bac\ so as to show distant sea and snow storm without. Oa^en shutters out- 
side windows to close and bar, oal^en door L.UE.; recess with curtains L.iE. 
bacl^ by continuation of cabin bed with patch worl^ quilt, in recess, arch with 
curtain. RUE. there is shown the continuation of cabin furnished; fireplace 
R^E. ship's locker against L. side of cabin, washstand with pitcher of water, 
bowl, soap, etc., etc., R.iE., roller towel at stand, clothes rac\, pegs, with 
southwestern coat, etc., R. of window, rubber boots beneath ship's glass on 
peg, old fashioned leaf table at window, dresser with dishes in R. arch, large 
photo of Jac^, Mother and Mary over and at sides of window. ClocJ^ and 
ornaments on mantel, fettle steaming and singing on hob, cricket chirping on 
hearth. Within all warm and cozy, without storm howling; candles on man- 
tel, lamp holly branches ready for Jac^, dog and cat lying on hearth. 



ii6 JAMES A. HERNE 

Music. 

Sleigh bells heard ever and anon during scene. This carefully rehearsed. Low 
rocker for Mother, wooden chairs, flower stands with flowers R. and L.U. 
corners, small C. table, singing bird hanging in recess L v rag carpet, rugs, two 
oars, blades uppermost in corners behind flower stands. Snow to drift in at 
door and for characters, large watch, bundles, goose, etc., etc., for Jacf^, amber 
calciums R. and L. through window, red ditto through fireplace, fire log 
burning. Stage, semi-darJ^ at rise to get effect of lights then gradually but im- 
perceptibly light up, till full on, except borders behind window. Small mirror 
over washstand, beach and sea backing, ist, act. drop. 

DISCOVERED: Margaret discovered in rocker fitting; Mary at table cutting 
out baby clothes; Jac^ at glass by washstand shaving; clean white shirt on bed 
in recess, stockings ready L. 

JACK. [Washing his face and nec\ thoroughly in water and singing all the 
time, and drying himself on the towel. Sings "Ohl There was a jolly miller 
once, lived happy on the river Dee"] There, that's over. Now Mary, where's 
my clean shirt? 

MARY. There, Jack, on mother's bed, and your collar and handkerchief all 
ready. 

JACK. Oh, Lord Lord what a little wife you are eh mother! ain't she 
just the blessedest little wife in the world? [Goes off L./.] 

MARG. That she is, Jack, and you see that you prove the best of husbands 
to her. 

JACK. [Outside] Oh! Never fear me say, mother, don't you forget to 
hang up the stockings. Will ye? 

MARY. [Laughing] Oh Jack! What nonsense! 

JACK. [Outside] No nonsense about it; Christmas is Christmas! It comes 
but once a year I'm goin' to have the stockings hung up and I'm going to 
have lots of holly and mince pie and goose and a regular New England 
jollification, there now: [Coming out] So, for fear you might forget it, I'll 
just hang them up myself. [Comes out with stockings, one long blac\ one, 
one long gray one, and one mans blue woolen socf(\ Say, Mary hain't you 
got no better stocking than this ? [Shows blac\ one] 

MARY. [Going to him and trying to ta\e the stockings from him] Why, 
Jack, what ever are you going to do? 

JACK. Hang up the stockings I tell you [She tries to get them; he puts 
them behind his bac1(\ Now, it's no use little woman, ain't agoin' to give old 
Santa Glaus any excuse. Ha! Ha! Ha! So, mother, you just give me some 
pins. [Margaret feels in her breast, laughs, and gives him the pins. He puts 



DRIFTING APART 117 

them in his mouth] Then Mother, first. [Pins long gray one on line lejt of 
fire] You next, Mary. [Pins blac\ one on line right of fire] And me in the 
middle; there we be all in a row. [Margaret has enjoyed this. Mary now 
comes down L. of stage, ]ac\ stands C. f admiring the stockings. Mary goes to 
him, she has baby's garment in her hand, places hand on his shoulder. Music] 

MARY. Jack, did you ever think that perhaps next Christmas there might 
be another stocking, a tiny one, Jack, to hang in the chimney corner ? 

JACK. Why, Mary child, there's tears in your eyes. [Goes to wipe her eyes 
with the worJ^ she has, sees it's a baby's dress] Why, bless my soul, what's 
this? 

MARY. Do you remember Bella and John in Our Mutual Friend that I 
read to you? 

JACK. Yes, perfectly. 

MARY. Well, there are sails Jack sails for the little ship that's coming 
across the unknown sea to you and me, Jack. [Falls weeping in his arms. 
Margaret silently wipes her eyes. Jac^ is deeply affected, pisses Mary fervently. 
Silence and moment's pause] Jack, have I been any comfort to you have I 
made your life any happier by becoming your wife? 

JACK. Happier! don't talk like that, Mary why I couldn't live without 
you now 

MARY. Then if anything should ever come between us 

JACK. Come between us [Fiercely] 

MARY. [Placing hand over his mouth] No! No! I don't mean that I 
mean if ever you should be tempted to 

JACK. [Soothingly] Oh! there I see now. [Kisses her] Bless you why didn't 
you say that before? There, I'll not go out at all 

MARY. [Recovering herself] Oh! yes, you must, your men expect you; it 
would be selfish of me to keep you here don't mind me Jackyou know we 
women are apt to be moody and capricious when 

JACK. [Stops her with a %iss] Yes, yes, I know I was only going because 
the men want to present me with a span new silver watch. Ho! Ho! Ho! and 
it says on it "to Jack Hepburne as a token of respect from his fellow work- 
men" but I won't go. 

MARY. [Getting his coat] Yes, yes you must there, now, see I'm all 
smiles again now don't forget the holly 

JACK. [Dressing] No nor the things for the stockings nor the goose- 
mind, mother, that you put plenty of onions in the stuffin' [By this time he 
is dressed, pisses mother] Good-bye. [Kisses Mary] I'll not be long away. 
[Dog rises to follow] No! No! Caesar, we mustn't both be absent at once; 
you stay here and take care of them till I come back, with my new silver 



ii8 JAMES A. HERNE 

watch. Mary you must keep asking me what time it is every hour in the day. 
Ho! Ho! Ho! [Goes out; as he passes door, snow drifts in; Mary goes to win- 
dow, as he passes, watches him, throws tyss, bursts into tears, rushes to Mar- 
garet and throws herself into her lap, weeping] 

MARG. Why, child alive what's ever come over you? [Smooths Mary's 
hair} 

MARY. I don't know, mother, it seems as if some great evil was about to 
fall upon us try as I will I cannot shake it off. [With fear} Oh! Mother, if 
Jack should 

MARG. But he won't you have been married now better than a good year 
and has he not faithfully kept his promise ? 

MARY. [Music changes; sleigh bells, etc.} Yes. 

MARG. Then trust him further, there dry your eyes now and [Sleigh 
bells have become more distinct} 

Si. [Outside} Whoa, Deuteronomy! Whoa boy! whoa! [Bells stop} 

HES. [Outside} Help me out, Si Cummins, my legs is all twisted up in 
this horse blanket. 

MARY. Hello! Visitors. [Dries her eyes, loof(s through window and off L.} 

Si. Hold on till I hitch old Deuteronomy. 

HES. Get me out I tell you do you want me to freeze before I make my 
daybu? 

Si. All right. All right. Gin us yer pump handles here there ye are steady 
now. [As they are heard approaching door, Mary goes to let them in. Silas 
stamps his feet and %ic\s his toes against door step. Mary opens door, snow 
drifts in; Silas enters carrying Hester. She is wrapped up in large old fash- 
ioned cloa\ and hood, heavy blue stockings over shoes; muffler on nec\ and 
mittens on hands; Silas in fur cap, long overcoat, with large white bone but- 
tons, heavy boots, comforter around nec\, mittens; they are covered in snow; 
he plumps Hester down before fire, starts to go off} 

MARY. Why, Silas, won't you warm yourself before you go ? 

Si. Oh! Yes I'll be back I jist want to hitch Deuteronomy that's all. 

MARY. Afraid he'll run away, Silas. 

Si. Oh, no'm afeard he'll fall down ef he hain't tied to suthin'. [Goes 
off, all laugh] 

HES. [Who has ta\en off her wraps, goes to Mrs. H.; pisses her} Well, 
mother. [Kisses Mary] Merry Christmas. 

MARY. [Smiling] Aren't you a little early ? 

HES. Well, you see I shan't have time tomorrow I'll be awful busy to- 
morrow. Have you seen the bills ? 

MARY. Bills! What bills? 



DRIFTING APART 119 

HES. The play bills, of course what other bills are there? Lampey's you 
know he's here for the holidays, [Silas enters, shades snow off coat, cap, and 
feet; ta\es off great coat, comforter, cap and mittens, lays them on locker] 

MARY. Yes I know that we are all going Jack is to take us tomorrow 
night. 

HES. [Clapping her hands] Is he ah good ain't that splendid got 
your seats? 

MARY. I don't know, I presume so, however. 

HES. If you ain't you better get 'em, there'll be a jam. 

Si. Ye kin get 'em at my store got a few choice reserves at five cents 
extra. 

HES. Do you think ye'll know me ? 

MARY. Know you! 

HES. Yes I'm going to make my day-bu 

Si. An so'mi 

MARY. [In surprise, but with a pleased expression] What? 

HES. Yes Lampey says he will waive patronage and try talent. 

Si. Yes he's gin us a chance though he says he don't think talent's 
much yuse. 

MARY. Well I'm sure I'm flighted tomorrow evening eh! 

HES. [Grandiloquently] Tomorrow evening. [Waves her hand] 

Si. I lead the band waggin twicet morning and afternoon but Hester 
stars in the evening. 

HES. Show her the bill, Silas. 

Si. I will. [Gets out play bill] 

MARY. [TaJ^es it, reads] Town Hall, Gloucester, extraordinary attraction. 
Engagement at enormous expense of the young, beautiful and talented 
comedienne, Miss Hester Barton, assisted by the incomparable musician and 
pharmacoepeist, Mr. Silas Cummings, who will appear for one night only, 
Thursday, Dec. 25th, in conjunction with Lampey's Dramatic Constellation 
in a monster programme. Secure your seats at Cumming's drug store and 
avoid the rush at the doors. N.B. weather permitting band chariot, drawn by 
six snow white Arabian steeds will parade the principal streets at nine A.M. 
and one P.M. 

Si. The band's chariot's Aleck Pearce's ice cart with flags over it. 

HES. S I L A- S 

MARY. And Silas Cummings will lead Lampey's Metropolitan Band of 
forty pieces and perform several popular solos on the clarionet. Well well 
that is splendid but why do you only play one night? 

Si. Lampey thinks one night's enuff. 



120 JAMES A. HERNE 

MARY. But the bill don't say what you do, what do you do? 

Si. Lampey'll announce that from the stage. I think it's safest. 

MARY. Safest? In what way? 

Si. Cos ef any eggs is fired, Lampey'll git 'em. 

HES. Oh! Silas ain't you awful? Why Mary, I sing a ballad and for an 
encore Silas and me do a double song and dance. 

Si. Say s'pose there hain't no encore. 

HES. Oh, there's sure to be we rehearsed it this morning and Lampey 
said it would paralyze 'em. 

Si. Or they'll paralyze us. 

HES. Would you like to hear us rehearse ? 

MARY. Should be delighted. 

HES. Come along Silas. [Getting ready to sing and dance} Mary 11 play 
for us. [Gives roll of music; Mary goes to piano] 

Si. I hain't thawed 'eout yet. 

HES. You just come along you mean thing. [Pulls him up} 

Si. I got a corn on my heel. 

HES. Ready, Mary. 

MARY. All ready ? 

Si. Let 'er go, Gallagher. [Song and dance] 

MARY. Bravo Bravo why Silas you're quite an actor. [// has grown quite 
dar\ outside by this} 

HES. Oh, he's got to act if he wants to marry me I'll never marry anyone 
but an actor. [Silas and Hester get ready to go] 

Si. Oh! I'll act I'll act only let the audience keep their claws off an' 
I'll act. 

MARY. Won't you stay to tea Jack'll be back soon he'd like you to stay 
to tea, I know. 

HES. No, thank you I've got my wardrobe to look after and my theatre 
trun\> ahem! to pack. 

Si. Yes an' I've got to give Deuteronomy a coat of whitewash and git 
him ready for one of the six snow white Arabian steeds. [By this time they're 
ready to go] So I guess we'd best be off goodnight. 

HES. \Kissing Margaret and Mary} Good night and a happy Christmas to 
you, as for me this'll be the happiest Christmas of my life be sure you come 
early so as not to miss any of me and get good seats good night [Tally- 
ing as she goes off] 

MARY. Good night. [They are off now} 

Si. Whoa, Deuteronomy [Sleigh bells tingle as Silas removes blanket 
and gets into sleigh, and chirks merrily as they ride off. Mary watches them 



DRIFTING APART 121 

through the window till they disappear, pissing hand to them, then lights 
candles and lamp, opens window, as it is now quite dar^, closes shutters, 
draws curtain] 

MARY. [As she worlds] Ah! dear, light hearted little Hester I hope her 
debut will be a success, I'm sure it will break her heart to fail I must ask 
Jack to get me some flowers to throw to her. 

MARG. Well for my part, I never set much store by play actors though 
they may be as good as any one else for all I know. 

MARY. Yes, mother, there are good and bad in all lines of life the player 
I presume is no exception to the rule. [She now wheels the C. table away, the 
big table C. and prepares to set the supper table] Hark! I thought that was 
Jack's step [Laughs] Poor fellow, how proud he'll be of his watch and how 
like a great boy he insisted on hanging the stockings. [Kettle begins to sing] 
Why, even the kettle is merry tonight. [Cricket chirps] And the cricket, too, 
bless me, quite a happy family, come puss [To cat] haven't you a note to 
add to the chorus and you Caesar [To dog] Come sir, get ready to welcome 
your master. [By this time she has finished the table] There we are all ready 
now, I'll just put the tea to draw [Does so] Now for Jack's favorite pre- 
serves [Goes into recess R., brings caJ^e dish with ca%e in it and glass dish of 
preserves Christmas carol heard in the distance she stops and listens it 
grows gradually nearer passes window] Hark! Mother! Is not that sweet 
Ah! blessed, happy happy Christmas [Resumes wor\ brings meat and 
bread from dresser cuts bread, etc., etc., Christmas carol dies gradually away 
and "we won't go home till morning" begins in the distance she stops 
listens staggers leans on table singing comes nearer nearer ends near 
door. There is a loud laugh door bursts open ]ac\ staggers in very drun\ 
laden with bundles. He wears a watch and has holly branches and wreathes. 
He drops them all on floor, staggers to locker, falls full length on it in 
drunken stupor Mary shrieks and falls senseless on floor. Margaret rises, 
falls on f(nees in prayer. Percy appears at door in handsome winter suit, snow 
drifts in through door wind howls sleigh bells in distance, chorus outside 
"RocJ^ of Ages." 

PICTURE AND END OF ACT 

ACT III. 

SCENE i : The City. Night. Five years have elapsed. Residence of the Seward's. 
A grand hop in preparation. Carpets down all through covered with drugget; 
everything very elegant. Flowers, statuary, chandeliers, side lights, etc. f etc. 



I22 JAMES A. HERNE 

Magnificent garden illuminated by electricity. Balustrade of second story bal- 
cony overlooking garden. 

Music. 

At rise f as curtain ascends, male servant in livery, descends staircase 
carrying a large vase of flowers. This servant a tall, fat man, very particular 
for business with Silas at end of Act. Crosses to folding doors R., enters apart- 
ment, exits, after a moment's elapse returns without flowers, crosses and exits 
C. and L. At same time female servant with cap, apron, collar, cuffs, etc., etc., 
dressed in new stiff dress, supposed to be her best, enters from RJ1. arch and 
crosses to apartment L.iE. and exits passing male servant in livery who enters 
R.iJE., and exits up staircase as the female servants enter from R.C. and exits 
up staircase. These jour servants stand ready for Act, to cross and re-cross as 
directed at rehearsal. There is music in the garden and laughter before and 
after curtain till the scene is well begun. Enter down staircase Mrs. Seward, 
a dar\, dignified lady, with a stern but just face, elegantly and quietly 
dressed, and Mary, elegantly attired but wearing a saddened expression of 
face. 

MRS. S. [Leading Mary to tete a tete R. and seating her] There my child, 
for you are now my child. My son has told me your story and although I am 
proud, and at first strongly opposed him in what I believed a mad infatua- 
tion, yet I could not permit my pride to stand as a barrier to his happiness. 
He loves you you are his wife and I love you too. Percy tells me that your 
first husband has been dead four years. 

MARY. Dead four years! [Aside] to me. To me. [Aloud] Yes madam. 

MRS. S. Do not call me madam, call me mother. 

MARY. [Loo\s at her wistfully, hesitates, then suddenly falls on her \nees, 
her head in Mrs. Seward' s lap] Mother! [She bursts into tears as Percy en- 
ters ex.] 

MRS.S. [Kissing her] That's right- [Smooths Mary's hair in the way 
]acJ(s mother did in Act II] That's right, I must leave you now and show 
myself among your guests. [Sees Percy] Ah! my son, you come very apropos. 
Mary seems a little sad and downhearted, cheer her up you can for who 
can comfort and cheer a young wife like her young husband ? [Smiles very 
\indly yet with quiet dignity and exits C.L. At the word wife Percy seems a 
little embarrassed, slightly drops his head, not enough to be noticed by Mrs. 
Seward. As his mother goes, he crosses to Mary] 

PERCY. Why Mary darling, do not give way like this. 



DRIFTING APART 123 

MARY. Percy, Is this right? 

PERCY. Is what right? 

MARY. This deceit this living lie Oh! Percy I have never deceived a 
human being before. And to think that the first should be the one to whom 
you owe so much your noble mother Percy think she bade me call 
her Mother and that sacred name that I have so yearned so hungered 
for I uttered tonight with a lie in my heart Shame! shame!! shame! 
[ Crosses L. and flings herself in chair] 

PERCY. You look only on the blackness o the clouds; you will not see the 
silver lining beyond. 

MARY. Ah! Percy, I fear there is no silver lining for me. 

PERCY. [Continuing] Besides you are my wife in the sight of Heaven, 
you will soon be so in the face of man. 

MARY. Yes, Percy! I believe you honestly intend all you say, and that 
you will, if permitted, perform all that you have promised, but the fact re- 
mains, that until that time I am but your 

PERCY. [Alarmed] Hush, my darling, hush! 

MARY. Percy, have you never been haunted by the thought that he might 
still live? 

PERCY. [Decidedly] Never! I tell you his death is almost certain. Four 
years and no word or sign from him. Four years since his ship was lost 
and never a soul left to tell the tale. There! There! Wait but the return of 
my messenger with the confirmation he is certain to bring, [Cheerfully] 
then for a quiet little marriage and I trust a long and happy life. [Laughter 
outside L.C.] Ah! Here are your eccentric friends, it will go hard if they 
do not bring the smiles back to your lips I verily believe Miss Barton would 
chase away a fit of the blue imps itself. Ha! Ha! [Exit through folding door 
R. At the same time enter C., from L., Hester, handsomely attired in what 
is supposed to be a stage dress, with a very long train, which is carried by 
Silas. He is in full evening dress, with very tight pantaloons. As Hester sees 
Mary, she makes a rush towards her. Silas, not starting quickly enough, al- 
most falls, and the train comes off In his hands. Picture. Hester's dress is 
made so that it is complete even without the train, she does not fyiow that it 
is off, but goes directly to Mary. Silas stands dismayed, loo\s at Hester, then 
at dress, tries to spea\, his tongue cleaves to roof of his mouth. Keeps this 
business up just a moment. He must not over do this, points to Hester, then 
to dress, then to himself in despair. A happy thought strides him, he hastily 
folds up train, just then servant maid enters, down staircase, and crosses to 
R.C. He sees her, taps her on shoulder and presents her with train. She ac- 
cepts, curtseys very low, he pisses her, she is pleased; curtseys again, he 



i2 4 JAMES A. HERNE 

bows, she exits. He comes down left, very highly pleased with himself as 
much as to say "/ flatter myself that was decidedly neat" Meantime Hester 
has gone to Mary, shaken both hands, pissed her, and talJ^s all through Silas' 
Business] 

HES. Oh Mary! Ahem! I beg pardon, Mrs. Seward. [Mary checks her] 
Let me look at you. Well I declare if you ain't just beautiful you look for 
all the world as if you were born here and had lived here all your life, and 
had never been within a thousand miles of old Gloucester. 

MARY. Dear Old Gloucester, I fear I was happier there than I ever shall 
be here. 

HES. Oh! How can you say so. For my part I hate the very name of the 
place. Paugh! I can smell it now. 

Si. Kin ye ? Well then yeVe got a derned sight better smellin' factory than 
I hev, and I'm willin' to at that I'd give suthin to jest poke my oil factory 
into Old Heminway's packin' shed this minit. [Snuffs] I jest love the smell, 
o' fish. 

HES. I dare say, you'd rather be stuck behind that dilapidated pill 
counter of yours, peddling blood root than gratifying a lofty ambition. 

Si. Lofty ambition be blowed! Blood root is better than actin' enny day 
blood root's ghost allus walks; that's one thing. 

HES. Silas, that's a cowardly allusion to poor Mr. Lampey's misfortunes. 

Si. I wish Mr. Lampey'd drink less and pay more salaries. 

HES. [To Mary] You must know my dear that I'm Lampey's stock star 
now, and such a favorite. I have a carriage to and from stop at all the best 
hotels. 

Si. She don't know that I have to peddle appetite pills and corn salve on 
the Q.T. to pay the bills. 

HES. And I have an understudy and Silas, he's Juvenile Tragedy and 
leads the orchestra. 

Si. [Aside] Orchestra! Clarionette and one fiddle. 

HES. You just ought to see Silas play "Alonzo the Brave." Oh! my, but 
he is splendid and then at the end, in the great scene where he takes the 
poison, he crawls off L.H., in dying agony and plays the slow music to let 
the curtain down; he's great Lampey says he's a better actor than Booth. 

Si. I guess I am, but Booth gets more pay. 

HES. Just play that poison scene for her Silas. 

Si. I hain't got no pizen 'sides ef I fell deown in these ere pants, [With 
significance] I'd well ye'd have to ring deown that's all 

HES. Well then give a recitation. 

Si. I hain't no good recitator. 



DRIFTING APART 125 

HES. You are, too. 

Si. [yielding, wanting to be urged] I can't act. 

HES. You can too. 

Si. I tell ye I can't. 

HES. You can, too. 

Si. Well Til give you a recitation. [NOTE: This must be delivered in 
dead earnest, with no attempt at burlesque except what the natural twang 
and character of the man gives it. Silas really things he's great] 

MARY and HES. [Clapping hands] Bravo! Bravo! 

HES. Ain't he just splendid? I wish Mr. Field could hear him he'd soon 
have Barren's place. Mary, why don't you go on the stage; Lampey could 
advertise you so now; you've got such notes. [Sees that Mary is pained, checks 
herself] No, I didn't mean that. [Hastily changes the subject] How do you 
like my dress? 

MARY. It's beautiful, I'm sure. 

HES. Hain't too good, is it? [Whispers] It's one of my stage dresses 
[Laughs] how do you like my train? [Turning around] Is it too long? 

Si. Ahem! [Begins to hum to himself and turns up stage] 

MARY. [Not J^nowing anything about the train, thinking Hester joking, 
smiles] Ah! no! I should say not a bit too long. 

Si. [Reassured] No, I should say just about the right lenth. 

HES. But when is the dancing to begin! I love to dance. 

MARY. [Kissing her] Hester dear, I believe you were born dancing and 
will leave this world singing your way into the next. \Ta\es Hester s face 
between her hands and loo\s earnestly at her] If there were only more like 
you, the world would be better for it; you are a ray of sunshine to me, so 
sing and dance to your heart's content: You merry harmless hopeful 
little cricket. [Kisses her and exits R.] 

HES. [Who has been affected, loo\s after her, bursts into tears, crosses, 
throws herself on Silas' breast] W-h-a-a-t d-i-d she make me cry for? 

Si. [Wiping his eyes, in a hoarse whisper] I don't know. 

HES. [Drying her eyes] I think it was real mean of her: Just as I wanted 
to look nice. Is my nose red? 

Si. No, is mine? 

HES. No wait [Tafes powder, rag and small glass out of pocket, 
powders Silas nose, then her own] There now we are all right, let's go and 
find the company. [Starts to go; waltz heard behind scenes; she stops] Ah 
Silas, my waltz song. [She listens, tries to restrain herself, but can't; grace- 
fully begins to waltz and hum to herself. Silas does the same, and finally 
she seizes Silas and whirls him away in waltz. Waltz, song and dance by 



I2 6 JAMES A. HERNE 

Silas and Hester. NOTE: Very neat at the end, all the Guests waltz on 
through C. arches RJL. NOTE: // encore, guests waltz at bac\ but do not sing. 
Hester utterly absorbed sees nothing \nows nothing. Mary enters RH. 
takes her from Silas and they waltz off R. Waltz continued outside, Silas 
waltzes by himself. Miss Stanley enters R.C. from R., he waltzes against 
her} 

Si. Beg pardin'. 

Miss S. Are you waiter here? 

Si. Yes, been waitin' some .time for the dancin' to begin. 

Miss S. I don't mean that. How long have you been tender here. {Inad- 
vertently placing her hand over her heart] 

Si. [Same business] Tender here, wa'al I hain't been here long, but if you 
stand there looking at me that 'ere way there's no knowing how tender I 
may git. 

Miss S. Oh pshaw! I mean are you a hired domestic. 

Si. Mel No! I'm one a' the company. 

Miss S. I beg your pardon. [Curtseys very low] 

Si. Don't mention it. [Curtseys very absurdly] 

Miss S. I -dear mehow awkward I hope, [Curtsying and getting to- 
ward C.R.] You'll excuse [Exits, he following to entrance bowing and as- 
suring her that there is no harm done; enter from C.L. Miss Fairchild, 
janning herself throws herself on ottoman L. quite exhausted'} 

Miss F. Here you! [Silas, bowing after Miss S] Young man! [He turns] 

Si, Mean me, Miss? 

Miss F. Yes, get me a lemonade. 

Si. Wherell I get it? 

MissF. On the sideboard there. Stupid! [Points to R. arch] 

Si. In there? 

Miss F. Yes yes -be quick please. 

Si. All right. [Goes off, Miss Fairchild lies bacf^ and fans herself. Silas 
re-enters with lemonade with a straw in it] Here ye are, Miss. 

MissF. Is it sweet? 

Si. I guess so. [Sucks through straw] Yes, it's very sweet. [Offers it] 

Miss F. You insolent how dare you [About to flounce off CR., Silas 
following with lemonade] 

Si. Here's yer lemonade, don't you want it? 

Miss F. I'll have you discharged for this. [Exits very angry, C JR..] 

Si. Discharged! Coin' to tell Lampey on me, I don't care this lemonade's 
all fired good though. [Drinks it, places glass on stand L. Enter Miss Easter- 



DRIFTING APART 127 

broof^ C. from R. with wrap as if from garden; throws off wrap as she en- 
ters, sees Silas] 

MissE. Here young man, take this to the ladies' dressing room. [Exits 
CJL] 

Si. Ladies' dressin' room! [Loof^s around, laughs] Gosh! They won't let 
me into the Ladies' dressin' room. [Same maid to whom he gave train now 
enters R. arch. Silas stops her, presents wrap; same business as with train. 
She exits up staircase] That's the second present I've gin that gal this evening, 
if I keep on she'll hev a regular Christmas. [Enter all the guests R. and L.] 

HARRY. Now then, partners and places for a quadrille. 

Si. [Calling him] Mr. [Touching him on shoulder] Mr. 

HARRY. Merton, Sir. 

Si. Merton sir will you please to introduce me to a partner. 

HARRY. Certainly, your name? 

Si. Cummins. Silas Cummins. [During this time Miss Stanley, Miss 
Fairchild and Miss Easterbroo^ have been in the foreground, whispering and 
pointing to Silas. Miss Stanley is telling them that he is a guest; they laugh, 
blush, etc. Harry goes up to Miss EasterbrooJ^, speaks to her, she assents, 
brings her down, etc., introduces her to Silas] 

HARRY. Mr. Cummings, Miss Easterbrook. [They bow, etc. Silas very 
awkwardly] 

Si. [Aside] That's the gal that gin me the shawl. 

Miss E. Mr. Cummings, I believe I owe you an apology. 

Si. Don't mention it. [Aside] I owe her a shawl. 

HARRY. All ready? [Dance. This must be arranged to give Silas all the 
opportunity for fun; he must be careful not to exceed the bounds of pro- 
priety; at one portion of the dance, and at its end, Silas does some terrific 
leaps and steps; stops suddenly, all stop in amazement, he sides over to 
RU.iJE.] What's the matter? 

Si. Nothin' only you'll hev to excuse me, jist get some one else to take 
my place a minit. Will ye? [At this a tall jot servant enters from L.i. Crosses 
to R.iJE. Silas seizes him, whispers in his ear. He laughs and assents and exits 
R.I. as Silas sides off, peeping face towards company] I knowed them blame 
trousers was too tight when I put 'em on. [Exit R.iJE. at same time servant 
enters R. arch] 

SERVANT. Supper. [Music changes to march, all exit RH. Music changes. 
Enter Jac}^ L.C. gray hair, pale, aged, ill, but with an endeavor to present a 
cleanly appearance. He is clad in a sailor suit, very poor. At same time enter 
from R.iJE. Mary and Hester. Mary now quite cheerful as through the in- 
fluence of Hester] 



i 2 8 JAMES A. HERNE 

HES. [S 'peaking as she enters] My dear Mary what an elegant place you 
have here, to be sure; next to being on the stage, I know of nothing that 
would please me so well as living like this. 

MARY. Ah, Hester dear, you must remember the old saw "All is not 
gold that glitters." [By this time they have gotten quite close to ]ac\ who 
has been staring at them, Mary, who has been looking squarely into Hester's 
face, and Hester into hers, now loo^s up and meets ]acf(s eyes] Jack! [Hester 
astonished, shrinks as if afraid] 

JACK. Yes. 

MARY. [Much moved] We [Corrects herself] I thought you dead. 

JACK. The boon of death is not given to men like me. 

MARY. Hester run keep him [Corrects herself] Them from coming 
here. [Hester runs off R. arch] What has brought you here? 

JACK. To see you. 

MARY. You have grown strangely considerate, after four years of silent 
absence. 

JACK. After that fatal night four years ago the night that in my de- 
lirium I so far forgot myself as to 

MARY. [As if ashamed to revert to it] Hush! 

JACK. Oh! Why was not my arm palsied first? I fled the cabin and 
sought my refuge the dram shop I knew no more till I found myself at 
my old trade bound on a fishing cruise aboard the "Sprite." 

MARY. All this I know. 

JACK. The "Sprite" was wrecked, as you must also know. All on board- 
save myself went down. After sixty hours I was picked up by an outward 
bound brig & trader in the China Seas. For weeks I lay between life and 
death at last we were overhauled by a Chinese Pirate and I doomed to 
a living death service aboard her. I escaped and I know not how I reached 
the old old place; reached it to find the cabin ashes you gone. To my 
inquiries I could only learn that you were in the city. I came here watched 
searched high and low at last I bethought me of Mr. Seward and that 
possibly he could aid me I inquired of a policeman where he could be 
found, "Why," said he, "there is his carriage now" I looked, and in it saw 
you. You know the rest they tell me you are 

MARY. [Firmly, but not tauntingly] I am and who has made me what 
I am? [He hangs his head] Jack Hepburne I loved you from the first hour 
in which I learned to lisp your name I clambered upon your knees in child- 
hood walked hand in hand with you to church in girlhood, in maidenhood, 
watched, with tear dimmed eyes, each departing vessel as it bore you from 
me, and every night upon my knees sent forth the orphan's prayer to the 



DRIFTING APART 129 

God of the fatherless for your speedy and safe return. At last what had been 
a seed a blade a leaf a bud burst forth in blossom and became a peer- 
less flower a priceless gern a woman's pure and holy love and still 'twas 
all your own what did you with it? [NOTE: this speech with all the firm 
decisive pathos possible, quiet but intensely strong] 

JACK. I know I know 

MARY. [Continuing] After one year of bliss, the like of which my yearning 
soul never even pictured to itself you forgot your promises forgot your 
oath cast aside my love and became a drunkard. 

JACK. [Groaning in shame] Oh! My God! my God 

MARY. For still another year I bore it I hoped against hope I strove by 
every means in human power to save you to reclaim you to bring you 
back to manhood and to self in vain. Where I looked for loving words 
I found neglect where I sought happiness, I found poverty and despair. 
At last with my arms clasped fast about your neck in woman's weak en- 
deavor to shield you from your demon you struck me to your feet and 
fled I who had loved you so who became your wife the mother of your 
child 

JACK. Enough! enough! 

MARY. And now you seek me for what, to drag me back to the old life? 
Never. But do not think it is this luxury that binds me here I would rather 
share one humble crust with Jack Hepburne than all the wealth a king could 
offer but Jack Hepburne my Jack Hepburne is dead and I will not accept 
this semblance that has risen in his stead. 

JACK* You wrong me, Mary I do not come to ask you to share my lot 
I have none to offer. The hospital and when strong enough, the sea is my 
only refuge now I will not take from you the life within your grasp. 

MARY. [Struggling with her tears] Ah! If you only knew. 

JACK. But tell me, Mary, our child our little Margaret is she alive? 

MAR.Y. Yes. 

JACK. [Wiping eyes] And well? 

MARY. And well. 

JACK. [Almost afraid to as}(\ Is is she here? 

MARY. She is safe. Know that it is for her sake and hers alone that I am 
here I would not have her meet my sad fate and so [Slowly almost 
vacantly} I sold the mother to save the child. 

JACK. [With bowed head] May I see her? 

MARY. [Loo\s at him almost as if she would go to him at this tearful re- 
quest. He does not see the action, after an effort] It is better not the image 



130 JAMES A. HERNE 

of the father I have taught her to pray for night and morning is sacredly 
engraven on her young heart best not destroy it 
JACK. Be it so mother is I suppose 

MARY. Dead! Yesher last thoughts were of you: Her last words "Jack! 
poor Jack." 

JACK. [Raises his eyes to Heaven as if he saw her] Mother! [Breathes a 
silent prayer] Well I will go now. Farewell. 

MARY. [Much moved] Is there nothing I can do for you? Do you not 
need money? 

JACK. [Loofe at her reproachfully] Ah! Mary not that spare me that- 
no not his money [Jact^ is going, Mary mafyes motion as if impelled to 
follow or stay him. At same time enter Mrs. Seward, Percy, R. and Hester 
backing on trying to stay them] 

HES. But I tell you, madam, she is not quite ready yet; I assure you I 
will bring her, I beg of you to return to the guests, 

MRS.S. Nonsense child, I will know what detains my daughter; when 
courtesy demands her presence amongst her guests. [Sees Jac%] Mercy on us, 
what is this! 

PERCY. [Aside startled] He here! 
HES. Now for the fifth act. 

Mrs. S. 
Percy 

Hester Jack 

Mary 

R. L. 

MRS.S. [Sees the picture of alarm on all faces and suspects something 
wrong] Who are you, sir? [To Jac%] 
JACK. A shipwrecked sailor. 
MRS.S. What seek you here? 
JACK. [With meaning] Charity! 
MRS. S. Do you know this woman? [Points to Mary] 
PERCY. Mother! 

MRS.S. Silence! [Repeating question] Do you know this woman? 
JACK. [Raises head slowly, looJ^s at Mary, deep struggle] No. [Percy 
breathes a long breath of relief. Mary mafes no movement] 

MRS. S. Then leave this apartment go below; the servants will see that 
your wants are met. How dare you intrude your presence here? \]ac\ bows, 
silently turns to go, at same time little Margaret runs on from first entrance 
L. with doll, and runs directly to Mary] 



DRIFTING APART 131 

LITTLE M. Oh! Mama! See what a beautiful dress Louise has made for 
my doll. [At the sound of her voice fac^ stops at the word "mama." Unable 
to restrain himself he shrieks] 

JACK. My child! [Checks himself, but sees it is too late. He is dazed. A 
picture of dismay on all faces, except Mary's, who has made no movement 
during scene; and Mrs. Seward's, who wears the expression of wounded 
pride} 

MRS.S. His child. Percy what is the meaning of this? [All the guests 
quietly enter from R. Silas with large pantaloons enters R.i. Hester goes 
down to him, she is explaining in dumb show} 

PERCY. I cannot answer. 

MRS.S. [To Mary} Speak you, madam, who is this man? 

MARY. [Calmly} My husband. 

MRS.S. [To Percy] And you have dared to insult me thus 

PERCY. Mother, hear me. 

MRS.S. Silence! As for you madam I pity you but leave my house 
go [Mary mattes no motion, slowly crosses, leading her child; she offers 
her hand, Jacf^ ta\es it in act of moving off, Hester and Silas following} 
Guests Servants 

Percy Mrs. S. 

Mary Jack 
Silas Little Margaret 

ACT IV. 

SCENE i : Garret in North End, very squalid; bed, wooden table and one chair, 
old stove in fireplace, no fire; door L., boxing attic window RF., candle in 
old candlestic^ lighted on table. Backing, a dirty hall in tenement house. 

window 

table door 

stove 

chair 

bed 

Little Margaret discovered in bed, Mary fyneeling beside her. Mary is very 
poorly dressed, pale and thin. JacJ^ enters slowly and despondently. Mary 
who has been intently listening to baby's breathing hears him, and motions 
to him to maJ^e no noise. He enters on tip-toe; he is very pale and haggard. 

MARY. Hush! Step lightly, she is asleep. Well! [Spoken in hoarse whisper} 
JACK. [Despairingly, shading head] Nothing, no work, no bread. 



132 JAMES A. HERNE 

MARY. Did you go to him? 

JACK. Yes: Even to him. His mother has sent him abroad; she is pitiless. 
How is baby? 

MARY. Worse Jack, I fear she is starving. 

JACK. Starving! No! No! Not that, [wild] it cannot be it shall not be 
by God! I'll tear food from their 

MARY. [Staying him] Hush. 

LITTLE M. [Faintly] Mama! 

MARY. [Goes quickly to her] Yes, my darling. 

LITTLE M. I'm so hungry. Are you hungry, mama? 

MARY. [Almost choking, Jact^ stands, wild] No, my darling. 

LITTLE M. It's dreadful to be hungry, ain't it, mama? 

MARY [Rushing to ]ac\, hoarsely but furiously] Do you hear, Jack? Go, 
beg, steal, murder, but bring food to my starving child. 

JACK. [Desperately] I will. [Rushes out] 

LITTLE M. Mama. [Mary goes to her] 

MARY. My baby. 

LITTLE M. Is papa gone? 

MARY. Yes dear, he has gone to get bread for my baby. 

LITTLE M. Will he come back soon? 

MARY. Yes dear, very soon. 

LITTLE M. Oh! mama, I had such a beautiful dream. 

MARY. Did you dear? 

LITTLE M. Would you like to hear it? 

MARY. Yes darling, tell mama your little dream. 

LITTLE M. I dreamed that papa had never gone away 3 that we were all 
back in our own beautiful home; not that great big home, but our own 
litde home by the bright, blue sea. 

MARY. Yes, dear. 

LITTLE M. And gran'ma was there, not that grand gran'ma, but my own 
beautiful gran'ma; and we were all so happy, and we went down to the sea 
and watched the ships sailing up and down, and they looked like great, 
white birds floating on the water. 

MARY. Yes, dear. 

LITTLE M. And the sea was so still and bright, and the sun so shiny and 
warm, and the sky was so blue; and pretty soon there came a great black 
cloud, and the sun went out. 

MARY. My baby! 



DRIFTING APART 133 

LITTLE M. And the sea began to roar, and the big waves threw the poor 
ships clear away up to the sky almost. And ah! such a dreadful storm as I 
never saw before. 

MARY. Was my baby frightened? 

LITTLE M. Ah! Yes mama, so frightened. 

MARY. It was only a dream, my darling. 

LITTLE M. I know mama, but it frightened me all the same, but the storm 
didn't stay long. 

MARY. Didn't it, dear? 

LITTLE M. No mama, it went away, and the sea got still again, and pretty 
soon I looked up and I saw such a beautiful ship, all gold and silver, coming 
right to us, and it came and took you and papa and gran'ma and me and 
dolly, and sailed away to the most beautiful land. It seemed like the fairy 
land you used to read to me about, and ah! mama, look! [Raising up in bed; 
Mary holds her] The ship call papa quick. 

MARY. There is no ship darling, you are dreaming still. 

LITTLE M. No mama, there don't you see? Look! the angels, sailing over 
it, they're calling us mama. Come! [She gets up in bed. Mary holds her and 
tries to calm her] 

MARY. There, there, my child, lie down. [Almost frantic, she realizes that 
death has come, but dare not give way\ 

LITTLE M. Don't you hear mama? They are calling you too. Come mama, 
or the beautiful ship will be gone. Quick! [Ma%es a step] Ah mama, [Cry- 
ing} give me your hand, it's all dark now; I can't see the ship, it's all dark. 
Where are you, mama? 

MARY. [Holding her in her arms} Here darling, here. 

LITTLE M. Kiss me, mama. I wish papa would come, will he know that 
the ship took you and me? There it is again, I'm coining, I goodbye papa, 
come mama, come! see! I [She dies. Mary lays her down, closes her eyes r 
tafyes her hand and hides her own head in the bed clothes. The door bursts 
of en. Jacf^ enters, followed by Hester and Silas, he is laden with food] 

JACK. See! Mary! food! food! at last. 

MARY. Too late, Jack, she's dead. [Jac}^ drops food, stands transfixed, Hes- 
ter and Silas get around to R. of bed\ 

HES. Mary see we've found you at last. 

MARY. Oh! Hester she's gone my beautiful baby, my little Margaret's 
gone see isn't she beautiful? See the smile upon her lips she is waiting 
for me she wants her mother. Yes baby TU come to you Jack [Half 
turning to Jac%] I love you Jack I forgive and love you but I cannot stay 
I must go with baby don't blame me and don't mourn, it was to be. 



i 3 4 JAMES A. HERNE 

You remember the storm on our wedding day well it has ended at last 
don't drink Jack! Be brave be my old, old Jack once more. Goodbye, Hester, 
dear kind Hester and Silas too. Ah Silas! I'll never ride Deuteronomy again. 
[As if to baby] Yes, yes I'm coming, good bye I'm coming. [She turns 
and quietly dies, with her bacJ^ against the bed and her head on the child's 
body] 

HES. Jack Jack she's dead! 

JACK. [ Who has not moved, stares wildly around and sees Mary's body and 
goes to her] Why Mary girl, what is the matter with you, child? Oh I see 
well well Pll not go out tonight; let the watch go. Come let's fill the stock- 
ing perhaps in a year there may be another stockin* hangin' here. Ha! ha! 
ha! there Caesar, you stop here with them Mary be sure you keep askin' 
me the time o' day. Ha! ha! ha! Why, what place is this? I won't stay here, 
come Mary, let's go. [He lifts her and supports her in his arms; her dead body 
is limp, but he is strong] Let's go home, back to the old home in Gloucester 
[Kisses her] Poor child I have so loved so wronged you. But I'll make 
amends I'll drink no more, come. Mother, be sure you put plenty of onions 
in the stuffin' Mother see here's Mary she's not well, poor girl quick, 
food. She's starving I tell you come Mary, we'll go home home home 
[Moving towards door with dead body of Mary, Hester and Silas horrified 
but unable to stay him] 

PICTURE AND CURTAIN 

ACT V. 

SCENE: Christmas Morning. 

Music: Same as Act II early morning, the table cleared away f the shutters 
open and the sun streaming in. Holly wreaths hanging on each end of 
mother's picture, one on Mary's, one on Jack's: Holly branches over window 
and mantel; stockings filled. Mother discovered knitting by fire, Mary cutting 
dress, dog and cat on hearth; JacJ^ asleep, as he had fallen. Sleigh bells heard 
in distance before curtain goes up and all through scene. Music \ept up till 
JacJ^s scene well on. 

JACK. [In his sleep] No no you shall not tear her away from me I tell 
you she is not dead let her go [Furiously] I tell you let her go I do you 
hear? [Springs up] Let her go. [Mary has stopped wor\ at his first ravings 
and comes down L. as he gets C.] Let her go III brain the first man who 
[He sees Mary, then Margaret, then mother] Mary, mother [With a wild 



DRIFTING APART 135 

cry] A dream! Thank God! A dream! [Falls sobbing hysterically at his 
mother's foees] 

MARY. Why Jack, what ever has come over you? 

JACK. [Jumps up, takes her to his breast] Ah! Mary, Mary, I've had such 
a horrid dream but you're not dead, [Almost smothering her with tysses] 
and mother's not dead and the bab 

MARY. Hush Jack, all in good time, Heaven willing. [Taking off Jack's 
heavy coat f hanging it up. Christmas carol in distance] 

JACK. [ Catching her as she comes down and pissing her] But you're sure 
you're not dead, Mary ? 

MARY. [Smiling] Quite sure Jack. 

JACK. And mother bless her dear old face. Are you quite sure you're not 
dead, mother? 

MARG. I'm worth a dozen dead women yet, Jack. [Jac% pisses her] 

JACK. Ah Mary! I have had such a dream, but it's a lesson to me. [Seri- 
ously] Mary! will you trust poor Jack once more? 

MARY. With all my heart I trust you as I love you Jack. 

JACK. [Seriously] I'll never break my word again I swear it on the "Rock 
of Ages." [Christmas carol has come nearer and nearer f finishes now; and 
Hester, Silas and fishermen and village girls all in holiday attire burst in 
with} 

OMNES. Merry Christmas! Merry Christmas. 

JACK. Merry Christmas! Merry Christmas. 

MARY. Merry Christmas! Merry Christmas! 

MARG. Merry Christmas! [Mary and Hester tyss, Hester pisses Margaret. 
Silas goes down L. and shades hands with fac^] What time is it Jack? 

JACK. Ah Silas! I've had such a dreadful dream. 

Si. Hev ye, a few appetite pills or a little blood root'll cure them. [Sleigh 
tells very heavy have approached door. The driver says "whoa!" Noise of 
stopping sleigh; enter Percy well wrapped and all smiles] 

PERCY. Merry Christmas to you all. 

MARY. Thank you, Mr. Seward, the same to you and many of them. 
[Silas goes up, Percy comes down, at the sound of his voice Jacl^ starts as if he 
could not realize] 

PERCY. [ Giving hand] Merry Christmas, Mr. Hepburne. 

JACK. [Sternly] The last time I see you you was [Checks himself, 
grasps hand heartily] A thousand of *em, sir, and there ain't no man that I'm 
gkdder to see here this day than you. 

PERCY. Thank you, and now my friends I have a proposition to make I 
have outside a sleigh and six prancing horses 



136 JAMES A. HERNE 

Si. I hope they hain't Lampey's six snow white Arabians. 
PERCY. The sleigh will just hold this party, so I invite you all to a jolly 
sleigh ride, a good old fashioned Christmas dinner, and a visit to Lampey's to 
do honor to our fair debutante and finish up the festivities in the evening. 
What say you ? 

ALL. Yes, yes, three cheers for Mr. Seward, the Fisherman's Santa Claus. 
Huzza huzza huzza 
PERCY. And long life and happiness to Jack Hepburne and Mary the 

FISHERMEN'S CHILD. 

[Song. "Turn your glasses upside down" temperance song and chorus to be 
written song with inverted glasses. Picture] 

Mary g rou P at 

Mother Percy back 

Jack Silas 

Hester 

END OF PLAY 



THE REVEREND GRIFFITH DAVENPORT 



CAST OF CHARACTERS 



Lafayette Square Theatre, Washington, D.C., January i6 f 

"Engagement of the Eminent Character Actor 

JAMES A. HERNE 

and production of his Latest American Play, entitled 
REV. GRIFFITH DAVENPORT 

(Circuit Preacher) 
Founded on Helen H. Gardener's novel "An Unofficial Patriot." 

ACT I. 



his sons 



GRIFFITH DAVENPORT 

BEVERLY DAVENPORT ) 

ROY DAVENPORT ) 

COLONEL ARMOUR, a lawyer 

HAMILTON BRADLEY 

SQUIRE NELSON 

LENGTHY PATTERSON 

UNCLE NED 

PETE 

JOHN, property of Mr. Bradley 

FREE JIM, a free nigger 

FREE JIM'S BOY 

JACK, a recent purchase of Mr. Nelson 

KATHARINE DAVENPORT 

EMMA WEST, a young Tennessean 

1 This cast is derived from a program of February 13, 1899, at the Herald Square Theatre, 
New York. Miss Herne assures me, however, that there were no changes. 



slaves of the Davenports 



MR. JAMES A. HERNE 

I MR. SYDNEY BOOTH 
MR. BERT YOUNG 
MR. NEWTON CHISNELL 
MR. FRANK M. CORNELL 
MR. LOGAN PAUL 
MR. ROBERT FISCHER 
MR. LAWRENCE MERTON 
MR. JOSEPH H. HAZLETON 
MR. JOHN W. BANKSON 
MR. H. G. CARLETON 
MASTER KENNETH BARNES 
MR. E. P. SULLIVAN 
MRS. HERNE 
MISS JULIE A. HERNE 



GRIFFITH DAVENPORT 
SUE HARDY, a young Virginian 
LITTLE MARGARET, Davenport's daughter 

SALLIE, private property of Mrs. Davenport, and 
married to Mr. Bradley' s John 

MAMMY, Margaret's nurse 

AUNT JUDY 

TILLY, the coo^ 

DINAH 

LIPPY JANE 

THE TWINS, children of Pete and Tilly 

SALLIE'S BABY 



139 

MISS CHRYSTAL HERNE 
GERTRUDE NELSON 



MISS HELEN ROBERTSON 
MISS MOLLIE REVEL 
MISS SADIE STRINGHAM 
MISS LUCY NELSON 
MISS DOROTHY THORNTON 
MISS RACHEL BLAKE 
BY THE TWINS 
BY HERSELF 



ACTS II AND III. 

MAJOR HARDY, father of Sue MR. THOMAS M. HUNTER 

LEADER OF THE HORSEMEN MR. H. G. CARLETON 

And all of the characters of Act I excepting Free Jim and his son. 

ACT IV. 

OLIVER P. MORTON, Governor of Indiana MR. WARREN CONLAN 

And Griffith Davenport, Roy Davenport, Katharine Davenport, 
Pete, Uncle Ned, Mammy, Sallie, Aunt Judy, Tilly and little Mar- 
garet 

ACT V. 



MR. T. C. HAMILTON 

MR. FRED JEROME 

MR. PIERRE YOUNG 

MR- ROWLAND EDWARDS 

MR. C. C. QUIMBY 



GENERAL LAMOINE, 

SURGEON U.S A. 

MAJOR HUNTER, Chief of Engineer Corps 

ORDERLY 

SERGEANT MORRIS 



140 

PRIVATE BATES 

PRIVATE HOEY 

PRIVATE LANG 

PRIVATE STEVENS 

PRIVATE ALBERTS 

MR. MONROE 

MR. SUTTON 

A CONFEDERATE'S WIDOW 

HER MOTHER 

AN OLD SOUTHERN WOMAN 



JAMES A. HERNE 



two old Virginians 



MR. THOMAS INCH 

MR. ROBERT GRAY 

MR. GEORGE CULVER 

MR. J. HANCOCK. HERVEY 

MR. HOWARD RALEIGH 

MR. JOHN W. BANKSON 

MR. J. B. EARLY 

MISS SUSAN GOOLD 

MRS. ISABELLA PRESTON 

MRS. ROSE ATKINS 



And Griffith Davenport, Beverly Davenport (now a Confederate 
captain), Bradley (now a Confederate lieutenant), Major Hardy, 
Lengthy Patterson, Katharine Davenport and Sue. 

ACT I. VIRGINIA, APRIL i860. 
"COMING EVENTS CAST THEIR SHADOWS" 

ACT II. VIRGINIA, MAY i860. 
THE NOMINATION OF ABRAHAM LINCOLN 

ACT III. VIRGINIA, NOVEMBER l86o. 
THE ELECTION OF ABRAHAM LINCOLN 

ACT IV. WASHINGTON, MARCH iSfe. 
AN UNOFFICIAL PATRIOT 

ACT V. VIRGINIA, APRIL 1864. 
FIRST SCENE THE SHENANDOAH VALLEY. SECOND SCENE THE NEXT EVENING. 

SYNOPSIS OF SCENERY 

ACT I. HOUSE AND GROUNDS OF THE DAVENPORTS IN VIRGINIA. 
ACT II. AND III. GRIFFITH DAVENPORT'S STUDY AND LIBRARY. 

THERE WILL BE AN INTERMISSION OF FOUR MINUTES ONLY BETWEEN ACTS 

II. AND III. 

ACT IV. A ROOM IN THE DAVENPORTS* WASHINGTON HOME. TIME: MARCH l8fe. 
ACT V. IN THE VALLEY OF THE SHENANDOAH. 



THE REVEREND GRIFFITH DAVENPORT 

SYNOPSIS OF THE MISSING ACTS 

THE scenes of Griffith Davenport are laid in Virginia and in Washing- 
ton, D.C., before and during the Civil War. Griffith Davenport is a 
Methodist circuit rider, who naturally has learned to know the roads 
in Virginia. He is a member of an old Virginia family and his communings 
with God and with nature have deepened the mysticism natural to him. He 
is opposed to slavery, but he owns a large plantation and a number of slaves, 
to which are added those that his wife, Katharine, brings him at their mar- 
riage. The conflict between them begins at this point for she can see nothing 
wrong in slavery. In the novel on which the play was based both sons of Grif- 
fith Davenport had been Union men, but in the play the eldest son, Beverly, 
is made a Confederate and Roy, the younger, enters the Union Army. This 
change adds to the conflict and the drama. 

The first act shows the garden of the Davenport estate, with its iron gates, 
and on one side, the entrance to the fine old mansion. It is a scene of happi- 
ness, prosperity and peace. The negro servants, Judy, Pete and others, amble 
in and out, going about their household tasks in their lazy, easygoing, good- 
natured fashion, showing the almost ideal conditions under which they live. 
Most of them have grown up with "Marse and Mis* " and are indulged like 
a lot of children. They are merry, happy and devoted. Then enters Sally, 
Katharine's personal maid. She is in a state of helpless misery. She tells the 
others that the Davenports' neighbor, "Marse Bradley," is forced to sell his 
coachman, her husband John. If "Marse Grif ' won't buy John, it means 
separation. And Sally and John have a little baby. A hush falls on the other 
servants as they listen to her. Then they comfort her. Of course "Marse Grif* 
will buy John. 

A diversion is caused when the family nurse appears, searching for little 
Margaret, the Davenports* youngest child, who has run away. She is pres- 
ently found and returned to her home by Free Jim's boy, the son of an out- 
cast "free nigger,** who lives with his father in a wretched cabin on a nearby 
marsh. When the poor little fellow appears with Margaret, he is almost 
mobbed by the infuriated Davenport slaves. In their eyes a freed negro, 
" *thout no famly nor nothin* " is the most despicable of all creatures, fit only 
for hatred and contempt. They surround the boy, reviling him, until his 



J4 2 JAMES A. HERNE 

father, a huge savage in rags enters. With a simple, tragic dignity, he obliges 
the slaves to fall back, and carries off his boy. 

Now another planter, Nelson, comes, and demands to see Griffith. This 
man is a stern and cruel taskmaster, and his slaves are overworked and re- 
bellious. One of them, Sampson, has tried to run away, and Nelson has hand- 
cuffed him to another slave to prevent a second escape. He shows him now 
to the shocked and horrified Davenport, and tells Griffith that the easygoing 
ways of his own slaves are corrupting Nelson's establishment. He angrily re- 
quests Griffith to keep his "niggers" off the Nelson place. Sampson attempts 
to justify his action by pleading that he has always been a coachman, and 
cannot endure the hard labor in the fields which Nelson forces upon him. He 
begs to be allowed to return to the stables, but Nelson, obdurate, marches him 
away with an oath. 

This scene deeply affects Griffith, and he has hardly recovered from it 
when Bradley, his neighbor, and John's owner arrives, and pleads with Grif- 
fith to buy John, whom he is forced, through gambling debts, to sell, so that 
husband and wife need not be separated. Katharine too, comes, to add her 
plea for the almost frantic Sally. But Griffith reminds her of his old resolu- 
tion, never to buy or sell a human being. Bradley attempts to argue with him. 
To him, Griffith seems almost a fanatic. Even Katharine is hurt by his seem- 
ing hardness. But when Sally herself begs pitifully for her husband, and im- 
plores Griffith to buy him for her baby's sake, the man's big heart cannot 
hold out. He sacrifices his own conviction and buys John. To the others, it 
seems only that he is making a humanitarian concession. But in his own soul 
it brings about a climax. Slavery is no longer endurable. He will end it, so far 
as lies in his power. He will free his own slaves, and if she consents, those of 
his wife. 

He talks it over with Katharine, and she, only half understanding the ethics 
of the question, but full of faith and love for him, consents. She has long felt 
that Griffith was not all hers. If it is this question of owning skves that is 
dividing them, then, the skves must be freed. 

Act II takes place a few weeks later, in the stately drawing-room, on the 
evening upon which this momentous decision is to become a fact. Griffith 
has been to the city, and has returned with the manumission papers. Beverly, 
his older son, is infuriated at his father's action. He protests to his brother 
Roy, who sides with his father, and the two boys have their first real dis- 
agreement. Beverly feels this division in the family is ominous of larger issues. 

"Roy, if this thing ever comes to a war between the North and the 
South, which side are you going to fight on?" 
"On my side/' replies Roy, laughing. 



GRIFFITH DAVENPORT 143 

Beverly looks at him thoughtfully. "Roy, if I ever met you in a battle, 
I believe I'd kill you quicker than I would a real Yankee." 

Roy takes a deep breath, and then, 'Tm sorry, Bev," he says, "but I'm 
afraid I'll have to give you the chance!" 

Presently Griffith assembles his household to hear the momentous an- 
nouncement. A few curious neighbors are present to witness the strange 
proceeding. They are all dubious and disapproving, but Griffith is beaming, 
Katharine reflects his happiness, and Roy is bursting with pride in his father. 
Only Beverly remains apart. In troop the happy servants, singing and laugh- 
ing in the anticipation of some sort of treat, for "Marse Grif" always brings 
them presents when he comes from town. They are counting on tobacco and 
new calico. And then Griffith Davenport makes them a little speech and 
shows them some papers. He tells them they are manumission papers, and 
that now everybody is free. But they do not understand him. They regard 
him stupidly, wistfully, like a lot of disappointed children. Griffith turns 
helplessly to his wife, and she tries to explain. 

"You're free you don't belong to us any more," she says. 

There is a wail of protest. They, "free niggahs!" They, "not belong to no- 
body!" They repudiate the idea indignantly. Their pride as members of the 
family is deeply injured. It is all so different from what Davenport expected. 

Suddenly Nelson's big Negro, Sampson, bursts into the room, a broken 
chain dangling from his ankle, a pruning knife in his hand. He has made 
another attempt to escape. But Nelson, with dogs and men is at his heels. 
Without even an apology to Mrs. Davenport Nelson rushes in, and orders his 
men to take Sampson. The men make a lunge, but Sampson holds up his 
knife. "Ef you come neah me I'll cut mah throat," he said quietly. Griffith, 
aghast, is impelled to cry, "I'll buy him from you, Nelson!" "I won't sell 
him!" replies the infuriated Nelson, and makes a move towards Sampson. 
But the Negro, with a quick movement, plunges the knife into his throat and 
falls dead before them all. There is a wail of horror from the assembled Ne- 
groes. Nelson gives Sampson's body a kick and says, "There goes fifteen hun- 
dred dollars!" Then bitterly to Davenport, "This is what your damn 
anti-slavery theories have come to!" Griffith stands dazed and speechless, and 
Katharine sinks beside him in a dead faint. Nelson's bitterness towards Dav- 
enport gradually communicates itself to the entire countryside, and his old 
friends and neighbors begin to view Griffith with hatred and alarm. Out- 
wardly, though, all is calm, and life in the Davenport household runs on as 
before. 



144 JAMES A. HERNE 

Act III shows the Davenport drawing-room on the evening of the Presi- 
dential election. The family is gathering for supper when Griffith returns 
from the polls and announces that he has cast his vote for Abraham Lincoln. 
Lengthy Patterson, a tall mountaineer, Griffith's devoted follower, appears 
and asks in his laconic fashion, "Kin I stay here tonight?" They gladly in- 
vite him to do so. He stands guard in the drawing-room while the unsus- 
pecting family is at supper. Lengthy has heard that something is in the wind, 
and presently a mob of angry men storms the house and march into the 
room. Lengthy bars their way. The family hurries in from the dining-room. 
Nelson, who is in command, tells Davenport that his voting for Lincoln is 
the last straw, and commands him to quit the state. Griffith refuses. Some- 
one threatens to burn the house over his head. Katharine says with quiet, 
bitter dignity, "We will go." A dusty rider hurries in. "Gentlemen," he cries 
breathlessly, "There is a possibility that Lincoln may be elected!" A groan 
goes up. The news seems to stun the men. They depart quietly. 

Driven from his home, and persecuted for his opinions, something of the 
martyr's fervor seems now to seize upon Griffith. He gathers his little family 
about him and prays fervently to God for help and guidance in the new life 
which they must face, and for the safety of his beloved country in the hour of 
trial which he foresees must descend upon her. 

In the novel Davenport went to Indiana after a brief stay in Washington. 
For the sake of unity Herne kept the scene of Act IV, here printed, in Wash- 
ington. In the novel and in the first form of the play Lincoln had sent for 
Davenport and personally asked him to guide the Union forces through Vir- 
ginia. This scene, while well written, seemed to be ineffective when the play 
was in its early rehearsals and then Mrs. Herne, who acted Katharine, saw 
the difficulty. It was an error in technique to bring to the most important 
scene a character who overshadowed the hero. Lincoln at once dominated the 
scene and reduced Griffith Davenport to a secondary position. It was there- 
fore decided to indicate his influence through Governor Morton of Indiana, 
who as a matter of fact in real life had persuaded the father of the author of 
the novel to enter the service. 

There are two scenes in Act V, in the first of which Griffith Davenport 
leads the Union troops through his native country until they approach his 
own home, when he declines to go further. In the play he is captured by the 
Confederates under his own son, Beverly, and is accused of being a spy. He 
is, however, searched and his commission being found on him, he becomes a 
prisoner of war. He is allowed to speak to Katharine before he is taken to 
prison and the play ends with husband and wife sitting together on the steps 



GRIFFITH DAVENPORT 



145 



of the porch in the moonlight, renewing their vows of love and faith. Kath- 
arine asks him to sing an old song of their courtship days, and he begins: 
"Oh, if I were king of France " as the curtain falls. 

ACT IV. 

"All quiet on the Potomac" 

SCENE i : Interior of a room in a house in the suburbs of Washington in 1862. 
The house is on a supposed elevation and through the window a large square 
old-fashioned window in the center may be seen over the landscape the 
White House an d Washington Monument. There is real glass in the win- 
dow panes // is a regular March day rain and sleet beat on the fanes at in- 
tervals the room is a sort of study, library and office combined one or two 
of the most prominent pieces of furniture were seen in Act III in Virginia 
but in the main the furniture is different, colder, more modern the atmos- 
phere of the place differs from that of the Virginia home. [NOTE: the Wash- 
ington Monument was only partially built in '62.] During the entire act there 
is heard at intervals drum corps, bands, and the noise and movement of 
marching men very distant to f uggest war times in Washington in '62. All 
trimmings are gloss white and ornamented. 





wall window 


wall 


"as 

8 
H 

s 

3 

1 


bookcase 


4> 

bookcase Jj 


bo 

frai 


table 
decanter of 


1 

Gov. Morton, 
Gov. of Indiana 


door sent in Griffith sherr y and 2 
and framed glasses on 
table 


ncd door 






1 



A fine large engraving of Mr. Lincoln in 1861 in a plain walnut frame 
must kang so as to be seen by entire audience [NOTE : Governor Morton must 
show that the first part of this scene has no interest for him, that he is here 
upon an important and delicate mission t and that he is puzzled just how to 
lead up to it successfully, but after he has led up to it he becomes very earn- 
est.] 



146 JAMES A. HERNE 

Gov. M. [Abstractedly] So you've quite settled down here, eh Davenport? 

GRIP. [Griffith is smoking and tal\s and stops and tal^s to show that he 
and Morton are intimate and stand upon no ceremony with each other] Yes 
my congregation is poor my salary small, but I manage to make both ends 
meet. 

Gov.M. [Let's} see, what is your church? 

GRIP. CalvaryUncle Ned calls it "De Cavalry." [Laughs. Morton laughs 
mechanically. Note: Little Margaret runs on from L. door laughing and 
jumping on her -father's knee he helps her up but pays no particular atten- 
tion to her. Mammy follows her on] 

MAMMY. [In loud whisper] Heah, heah! [Laughing] Yo' paw doan wan 
fo' to be boddered wif yo' now yo' come along o' yo' Mammy. [Carries the 
child off] 

Gov. M. [Gets up as child enters, tal^s through Mammy's scene] Method- 
ist of course. 

GRIP. [Laughs] Ah! Of course. 

Gov. M. [ Wolfe up and down, stops occasionally sometimes with his bac\ 
to audience and talfe] Pity you couldn't have seen your way to taking the 
position I got for you Indiana is getting to be a big state and Professor of 
Theology at Asbury Institute is a fine position. The College is second to none 
in the country and Greencastle is a very pleasant place to live. 

GRIP. [ Walfe] Yes, I know but when I found that I couldn't take my 
black people into the state not even as hired help, in my own house I 
kind ot[Winfe eye and shades head] and then I don't believe Katharine 
would ever have been satisfied to live so far North. 

Gov. M. [Stops and shows a little more interest] I never knew a thing 
about that law in our state until you brought it to my notice. I don't believe 
there's a half dozen men in the state who know it now. 

GRIP. Well, it's there just the same. It's more than a law it's part of your 
Constitution. Your Constitution distinctly forbids any person to bring a free 
nigger into the state of Indiana that is to live there. I presume it was done 
to protect labor in your state, I reckon! 

Gov.M. I suppose so. Silly though don't you think so? 

GRIP. I certainly do. [Enter Sallie] 

SAL. Mas Grif Cain Pete an Uncle Naid speak wid yo' fo 1 a minute? 

GRIP. Certainly. [Griffith Davenport, Katharine Davenport, and Roy 
spea\ with a Southern accent. Sallie exits leaving the door open the Parrot 
of Act I walfe in Judy follows. As Parrot enters, Governor Morton is slightly 
amused stops leans against a table or sits on arm of chair and listens] 



GRIFFITH DAVENPORT 147 

JUDY. [To Parrot] Yere yo' walk yo'se'f outen yere. [Laughs] 'Scuse me, 
Mas Grif but dis yeah bird thinks he own dis house, des as ef he was in 
ol Virginny! [Catches Parrot] Come outen yere What yo' wan' to do 
study one o' Mas Grif sahmons? [Laughs and talks herself off. Pete and Ned 
have entered in the meantime. Pete is all covered with lime li^e a white- 
washer. Ned is still a general servant] 

GRIF. Well, boys what is it? 

PETE. [Grinning} Mas Grif, has yo' got change fo' dis yere shin-plaistah ? 
[Handing him a fifty-cent note] Ah done got a job a-whitewashin' and de 
lady gimme two dollahs. [Has fifty-cent notes] Uncle Naid he say he got ter 
hab a levee on a fip an' 

GRIF. [Git/ing him the change in two notes} What for? 

UNCLE NED. [Stammers] Twas jes dis way, Mas Grif Ah was a-comin' 
home from de market day fo' yesaday a a an a lady axes me ef Ah cain 
git her a boy fo' to whitewash an an Ah tole her Ah could an Ah s s 
sent Pete dar das dess de whole trufe, Mas Grif. 

GRIF. I think Uncle Ned is entitled to his commission, Pete. I'd give him 
a quarter if I were you. It will encourage him. 

PETE. [Grinning] Yes sah all right Ah des wan'ed to know dat's all, 
[Gives Ned one note] kase Ah done all de wuk. [They are going out when 
Tilly, who has been in the doorway, stops Pete] 

TILLY. [To Pete] Heah yo' gimme dem shin-plaistahs. I'll take car ob 
dem. [Pete gives them to her ruefully and they all exit] They won't buhn no 
hole in mah pocket! 

Gov. M. [Seating himself in his own chair. Laughing] Do you have much 
of that to do? 

GRIF. [Laughing] Yes, sir! Yes, that's one of my perquisites. [Laughs] 

Gov. M. You took a pretty big contract when you undertook to free 'em 
all down there didn't you? 

GRIF. Yes, I freed the slaves and now I own a lot of free niggers! 
[Laughs] 

Gov. M. Why don't you hire s em out and make 'em earn their own liv- 
ing? 

GRIF. [Cheerily] The young ones do in a measure but the old ones own 
us we never did own them they think we'd go to the dogs if they left us 
they're just like a lot of children* [Laughs] 

Gov.M. [Getting up] I suppose it'll take 'em some time to adapt them- 
selves to the new condition. 

GRIF. A generation or two, I reckon. 

Gov. M. [Going to window] Reg'lar March day! 



148 JAMES A. HERNE 

GRIP. [Cheerily] Yes He's come in like a sure enough lion this time! 
[Laughs] But that's no reason you should keep walking about the room as if 
to keep warm. Isn't the room comfortable? 

Gov.M. [Quickly] Ah yes! Perfectly so but I'm nervous today I can't 
sit still. [Coming down a little] 

GRIP. Got something on your mind ? 

Gov. M. Yes. Men in public office in time of war have always something 
on their minds. 

GRIP. Come here and sit down and enjoy your cigar and tell me all 
about it perhaps I can help you out. [Lighting his cigar which has gone out] 
There are two things in this world I really enjoy a fine horse and a fine 
cigar! 

Gov. M. Davenport, you can help me. And you are the only man who can. 
I've got an order to deliver and it is a very delicate one and I don't know just 
how it is going to be received. It may cost me the friendship of the man I 
must deliver it to. 

GRIP. Why don't you mail it with a fine letter ? 

Gov. M. [Getting up and going to window] That won't do. It is from the 
President it is confidential and it is to one of my very dear friends and I am 
ordered to deliver it in person. 

GRIP. From the President? I I see nothing to do but to deliver it. 

Gov.M. [With his face to the window and his bacJ^ directly on Griffith] 
Did you ever see Mr. Lincoln? 

GRIP. Ah yes. I meet him occasionally. 

Gov. M. What do you think of him ? 

GRIP. [Smiling] What a question you know perfectly well what I think 
of Abraham Lincoln! 

Gov.M. [Turning around] He's a great man, isn't he? 

GRIP. [ Writing] I thought so when I voted for him I know so now. 

Gov.M. [Half to himself] Yes he's a v-c-r-y g-r-e-a-t man the South 
didn't know him or she never would have seceded doesn't know him yet. 
[Coming down] Did you ever talk with him? 

GRIP. [Astonished] Gracious no! He don't know me. 

Gov. M. [Sitting in his chair] Ah, yes he does! I've told him all about you 
he's very much interested in you. 

GRIP. That was kind of you and it's good in him but I can't see what in- 
terest the President of the United States can have in a simple citizen like me. 

Gov. M. [Ta^es his cigar out of his mouth] He wants to see you. He sent 
me to fetch you. [Rises] Come I'll introduce you to him. 

GRIP. [Carelessly] What does he want to see me for? 



GRIFFITH DAVENPORT 149 

Gov. M. He wants to offer you a position he has vacant. 

GRIP. [Cheerfully] I don't want any position I'm not in the political 
market. 

Gov. M. It's not a political position it's a military one. 

GRIP. [Smiling] Fm not a soldier I don't know a thing about 

Gov. M. Come along and see Mr. Lincoln and let him explain himself 
he may 

GRIP. I'll do that. I shall be very glad to meet Mr. Lincoln but I don't 
want any position. [Rises] I'm satisfied as I am. [Enter Roy in uniform of 
2nd. Ueut. cavalry} 

ROY. [Breathlessly] Where is mother? [Touches cap to Governor Mor- 
ton. The Governor returns salute} Morning, Governor! 
Griffith Gov. M. 

Roy 

GRIP. [Putting table to rights. Without turning points to LH* door} Yon- 
der, I reckon. [To Governor Morton} Yes, it's 

ROY. Well, father, I've done it! 

GRIP. Done what? [Sees him} Enlisted! 

ROY. Yes i9th Indiana we are to join Grant in the West. 

GRIP. [To Governor Morton] You knew this? [Governor Morton nods] 

ROY. Are you angry, father? 

GRIP. No I'm not angry, my son but I don't know what your mother 
will say. [Calls] Katharine! 

ROY. Don't call her, father, let me tell her. [Starts towards L. door when 
it opens and Katharine enters} 

KATH. Did you call me, Griffith? Good morning, Governor here is a 
letter from [Sees Roy] Why, Roy 

ROY. [Trying to be cheery. Throwing his cap on a table} I have enlisted, 
Mother. 

KATH. Well I don't know as I am surprised. 

Gov.M. [Enthusiastically] That is the spirit that's going to save this 
Union, Mrs. Davenport! 

KATH. That spirit is going to make women like me very bitter against the 
whole thing! To think of my two boys as babies [Shades her head} and to see 
them now! [Sighs] 

ROY. [Tentatively] I knew Beverly would call me a traitor but I kind of 
hoped you would be proud of me. 

KATH. [Wearily] I suppose I ought to be proud of you, Roy everybody 
else will be but my boys are worth a good deal more to me as my boys 



i 5 o JAMES A. HERNE 

than as heroes. [Tafas a letter from her pocket] I have a letter from Beverly. 
Read it. Excuse me, Governor. {Gives him the letter and exits L. door} 

GRIP. [To Governor Morton] Beverly our oldest boy is in the Confeder- 
ate Army. 

Gov.M. Yes so you told me that letter is from him? [Seating himself] 

GRIP. Yes read it, Roy. 

ROY. Aloud, father? 

GRIF. Yes. 

ROY. [Reading] "Camp Fairfax, March 19, 1862. My own darling Mother: 
I don't know whether this letter will ever reach you, but I must write it. Jerry 
is going to try to get through the Yankee lines to post it. I must tell you that 
you are a grandmother Jerry brought me the news this morning we have 
a beautiful baby girl the image of her mother, and you know how hand- 
some Sue is. They are all at the old home. Sue sends word that she is very 
happy and I'm very happy happier than I thought I ever could be without 
you. Do you think that when this war is over, you may come back here and 
visit us? For I don't suppose you'll ever live South again. I still think father 
was wrong but there that's done. I'm Captain of a Company of Virginia 
sharp shooters, and we've done some excellent work, and have been person- 
ally complimented for bravery and skill but mother dear, I wish now that 
the war had never been not but what I still believe the South right but I 
wish this thing could have been settled some other way but of course it 
couldn't. I wish slavery had never been for it cost me my Mother. Don't let 
Roy go into the Army, mother. He and I once had some talk about the war, 
and I said some things to him that I wish now I hadn't said. We are bound 
to win for we have the advantage. The Yankees have got to fight us on our 
own ground all the time the great decisive battles have got to be fought 
right here in Virginia in the Shenandoah Valley. They don't know the Val- 
ley nor the Mountain passes we do we can ambuscade 'em at every turn 
just as we did at Bull Run and they know it that's why it's all quiet on the 
Potomac, as your newspapers put it they daren't move they are afraid of 
being let into a trap. The fact of their changing Army Commanders isn't go- 
ing to help 'em. They've made McClellan General in Chief of all their forces 
well they'll never get an able General at the head of their Armies what 
they need now are guides. I'm going to have Sue get some pictures taken of 
her and baby as soon as she's well enough to go out, and I'll try to get one 
to you. No use to ask you to write because your letters would probably never 
reach me. Good-bye, mother dear give my love to father and to Roy kiss 
little Madge for me but keep the dearest and best of me for your own own 



GRIFFITH DAVENPORT 151 

sweet self won't you my mother. Beverly." [Griffith is silent. The Gov- 
ernor is very thoughtful] 

GRIP. What was the talk you and he had about the war, Roy? 

ROY. It was only talk, father he was angry and so was I. 

Gov. M. Come let us go and see the President! 

GRIP. No, I reckon Katharine will want to talk to me now. Excuse me to 
the President. I'll go with you tomorrow morning. 

Gov. M. [Emphatically} Tomorrow morning won't do. You've got to see 
him today. [Seating himself} Davenport, that boy of yours has hit the nail on 
the head our Generals don't know that country down there. It's been simply 
a slaughter of our men every time they've tried to move. 

GRIP. Yes, Virginia certainly is a mighty poor country to move an army 
in, unless a fellow knows it. 

Gov. M. You know it every foot of it. 

ROY. [Smiling] He ought to! He rode it day and night for thirty odd 
years. 

Gov. M. Your knowledge of that country is simply invaluable to Mr. 
Lincoln just now and he's got to have it, that's all there is about it. [Rises 
and wal\s about] 

GRIP. [Excitedly] Hold on, Governor, hold on! When I first came here 
we talked that all over and agreed to hoe in our own corn fields. 

Gov. M. You can see yourself what the Army is doing down there in Vir- 
ginia simply nothing at all! What do you suppose the rebs keep their 
strongest Generals and their best men right between Washington and Rich- 
mond for? 

GRIP. Why, that country is the key to the whole situation. 

Gov. M. Exactly, and they know that if they can get into Washington 
they're sure of foreign recognition. [This sets Griffith to thinking] 

ROY. Gosh! They've come mighty close to Washington more than once. 

Gov. M. Close well, if their Generals had known as much as we did 
they'd have walked right up to the Capitol steps. That's what's the matter 
they don't know our position and we don't know their country and there we 
both are one's afraid and the other dassn't. If we knew that country we'd 
go right into Richmond. You wouldn't like to see our cause lost, would you ? 

GRIP. Fve told you rime and again that I believe in the Union. I'm a 
Union man. 

Gov. M. How much of a Union man are you? 

GRIP, [Almost resentfttlly] What do you mean by that? 

Gov.M. Are you enough of a Union man to help save her? 

GRIF, How can I? 



152 JAMES A. HERNE 

Gov. M. [Drawing his chair in front of table and sitting down again close 
to Griffith} I'll tell you something and I know what I'm talking about. If a 
move isn't made before long and made right the Union's gone up in a 
balloon. [Pause. Draws chair closer to Griffith's chair, leans forward and 
whispers aloud} I'll tell you something more and this is in strict confidence 
[Slowly and emphatically} The President knows it [Lays his hand 
on Griffith's foee] and he hasn't got a soul who knows that country that he 
dare trust. [Leans bac\ in his chair and loo^s steadily at Griffith} And I've 
got that from his own lips not half an hour ago. [Pause} Now, that's a nice 
position for the President of the United States to be in isn't it? [Changing 
his whole manner to a determined one} That's what brought me to Washing- 
ton. That's what he wants to see you for. You're the man he needs you're 
the one man and the only man who can 

GRIP. [With much feeling, but with great firmness} No the South's my 
home she's wrong, but I can't fight against her. 

Gov.M. Nobody wants you to fight. You voted for Mr. Lincoln you 
helped to put him in the position he is in, and by the Eternal you've got to 
sustain him! You've got no right to desert him now when he needs you. It's 
treason! 

GRIP. No! I'm neutral I 

Gov.M. [Vehemently} There is no neutral ground now. The man who 
is not with Mr. Lincoln now is against him. 

GRIP. [Smiling} That's what the fellows in Virginia said to me when I 
voted for Mr. Lincoln. 

ROY. [Enthused} Ah! I wish I knew the country as well as father does. 
I'd- 

Gov. M. [Showing a map which he has carried in his hand. It is wrapped 
in a blac\ oil cloth] Here, I want you to run your eye over that and tell me 
how you would like to move an army by it? 

GRIP. What is it? 

Gov. M. The map of the Shenandoah Valley and of the mountains and 
passes of Virginia that General McClellan has been planning this campaign 
by. 

GRIP. Where'd you get it? 

Gov.M. [Slowly and impressively} The President of the United States 
asked me to show it to you. [The steady gaze of Governor Morton meets the 
eyes of Griffith, who has stared at him at the words "as^ed me to show it to 
you!' They loo\ fixedly at each other Griffith feeling that if he ta^es that 
map he will yield f Morton determined he shall ta^e it. After a pause Griffith 
ta^es the map and slowly unrolls it. Then Governor Morton changes his tone 



GRIFFITH DAVENPORT 153 

and becomes colloquial. Indicating place on the map} There's a strip along 
there he can't make out. [Pointing farther along] That seems to be an open- 
ing in the mountains but [Roy has drawn near and is interested in the 
map} 

GRIP. [Who has scanned the map carefully, speaks in very positive tones] 
No! No! The real opening, the road pass let me see what's the scale of 
miles here? Four why the road pass is at least five miles farther on! [He 
draws an imaginary line with lead pencil which he ta^es from table] There! 
M-m-m [Thoughtfully, taking his chin in his hand] No n-o-o; this map's 
all wrong. The road trends along here so. Then you cross the ridge at 
an angle so. There ought to be a stream here oh, pshaw! This map's 
where did he get this map? It's no account at all! There are at least seven 
miles left out right here. Why, right here where they have got those little, 
insignificant foothills, is one of the most rugged and impassable places in this 
world! [Draws several imaginary lines} Right about here is the Bedolph es- 
tate, a splendid place then as you go up here, you pass into a sort of a pocket. 
If they got you in there it'd be pretty hard work to get out. But you can cut 
all that off and go so see? There is a mill, and a fine old mill stream, pure 
water as you ever drank, right here. [Throws down his pencil] This map is 
no good! It would be absolute murder to move an army by that map. 

Gov. M. [Following up his advantage] The President is aware of that and 
he is helpless. That's why he turns to you. Now you know why "All is quiet 
on the Potomac." We daren't move. The Army of the Potomac would mu- 
tiny if it knew the real state of affairs. 

GRIP. [Is dazed] I never saw it in that light before. Just what does he 
want me to do? 

Gov. M. He wants you to be an unofficial patriot. 

GRIP. [Slowly and almost sadly] An un of ficial pa triot . Ah! 
[Shades his head] 

Gov. M. He's going to send a corps of engineers down there to make a 
new map of that country. He wants you to lead that corps. You can go in 
your character of chaplain or 

GRIP. No. If I do this thing, 111 do it outright! I've never seen it as you've 
made me see it today. If I go III ride in the lead, not as a chaplain nor as 
sutler, but as just what I shall be God help me a government guide. 

Gov. M. All right. Now about your pay. How does a colonel's commission 
and pay strike you? [He says this as if it were an extraordinary offer, one 
which no sane man would refuse} 

GRIP. [Indignantly] Commission? Pay? Am I to understand that he 
offers to pay me to 



I54 JAMES A. HERNE 

Gov. M. [Quickly and pacifically} No! No! But you have got to be car- 
ried on the pay roll. You've got to have grub-rations. The commission is for 
your personal security. It is necessary, in case of of accident, it secures you 
the right of honorable exchange and fair treatment as a a prisoner of war. 

GJUF. I shall be a spy, all the same, in my own heart I shall be a spy. I 
can't do it. I can not do it! 

Gov.M. Faugh! I've no patience with you. Did you ever see a panic of 
wounded men after a battle? 

GRIF. [Horrified] Oh! My God yes! I saw McDowell's army cross Long 
Bridge yonder [Points] on the 2ist day of last July young men and boys 
[Unconsciously embraces Roy] singing, cheering, filled with the ecstasy of 
life and youth and joy. And I saw their retreat from Bull Run the next day. 
My God! I've seen nothing else since, day or night! 

Gov. M. [Sternly] You could have prevented that disaster, and you will 
have yourself to blame if the President of the United States and the Generals 
of the Union Army have to account for another li\e it. And now I'm going 
to see the President. Will you come? 

GRIP. No. Not today. [Rolls up the map and offers it to the Governor] 

Gov. M. [Refuses to ta\e it] No, I want you to think it over, and I want 
you to read this. [Ta\es official document, which is in an official envelope, 
from his breast pocket and hands it to Griffith, who ta\es it in a nerveless 
sort of way, as if he had no power to resist] 

GRIF. What's this? 

Gov. M. The order I was commanded by the President to deliver in per- 
son to a very dear friend. [To Roy, while Griffith reads the paper] I expect 
to hear good reports of you. [Then goes down to Griffith; slowly] That's a 
p-e-r-e-mptory order. [TaJ^es out watch] I shall expect you to meet me at Wil- 
lards at four o'clock. It is 3:15 now, and we will go over there together. 
[Griffith is in a daze. The Governor starts to go, stops, comes bacJ(\ And by 
the way, you might as well make up your mind not to come back to the house 
for the present. You'll probably have to go into commission at once. Four 
o'clock, at Willards. Good-bye. [To Roy, who shows him to the door] Good- 
bye, my son. [Shades hands with Roy. Roy touches his forehead in military 
salute. The words of the Governor have inspired him with pride. Closes the 
door just in time to see his jather, who has read the paper, jail into a chair 
with his head buried in his arms. The paper jails on the floor] 

ROY. What is it, father? [Sees the paper, pic\s it up. Enthusiastically, with 
a smile* reads:} 



GRIFFITH DAVENPORT 155 

Executive Mansion, 

March 16, 1862 

Oliver P. Morton, Governor of Indiana : 

Order your man, Davenport, to report to me immediately. 
(Seal) A.Lincoln 

[Pause] You've got to obey that order, father. 

GRIP. I can't, Roy. I can't! 

ROY. [Partly astonished and partly disappointed that his father does not re- 
spond to the order] You must you can't help yourself. 

GRIP. What will your mother say? [His head still buried in his arms} 

ROY. [Decisively} I don't know, but you have got to obey that order. 
[Ends in fatalistic half whisper. Enter Katharine L. door. She is dressed for 
walking* She is intent on buttoning her gloves, and does not loo\ up as she 
speaks} 

KATH. Griffith, I'm going out for a walk. Is there 

ROY. [Cheerily} Do you want me to go with you, mother? 

KATH. No I [Loo^s up, sees Griffith bowed down. Springs to him} 
Why, Griffith! What's the matter? Has anything happened? [Griffith merely 
shades his head and swings his body} 

KATH. [With more emphasis} What's the matter? Can't you speak? Roy 
what [Turns her head r sees the paper which Roy is turning over in his 
hands. She stops, turns pale and sic\. Whispers} Beverly [She can scarcely 
spea%] When how where 

ROY. [Extending the paper. Shades his head to indicate "No"] Mother, 
the President orders father to report to him immediately. 

KATH. [With a long breath} Oh! Mercy! Why didn't you say so? You 
gave me a dreadful shock. I thought Beverly had been killed. [Ta^es the 
paper, tries to command herself. Reads} Why this is to Governor Morton. 
Oh! I see! "Order your man, Davenport, to report to me immediately, A. 
Lincoln." [Indignantly} Well I your man, Davenport the presumption! 
[To Griffith} What are you going to do with this, Griffith? [Holding the 
telegram towards him} 

GRIP. [Hesitatingly} I don't know yet 

KATH. [Surprised} Don't tyow? 

GRIP, I was trying to think what I ought to do what would you do, if 
you were me? 

KATH. Fd tear it to tatters! [Attempting to suit the action to the word} 

ROY. Mother, don't 

KATH. [Almost shrieks] Let me alone! [Then to Griffith in a quieter but 
stitt intense tone} Thafs what Fd do with it. 



156 JAMES A. HERNE 

GRIP. [Rising and quietly taking the paper from her] I wouldn't tear it, 
Katharine, if I were you. That won't help matters. 

KATH. What does this man, Lincoln, want with you, Griffith? 

GRIP. [Slowly] I reckon he wants me to give him a key to the Shenan- 
doah Valley. 

KATH. A key to the Shenan 

GRIP. McClellan has 100,000 men down there in the Army of the Poto- 
mac, and he can't move 'em without 

KATH. You don't mean to say that he wants you to guide his Army ? 

GRIP. I reckon that's about what it amounts to. He wants me to map the 
Shenandoah Valley and mountain passes for him. 

KATH. [Indignant] Oh, Griffith what an insult! 

ROY. [Astonished] Insult? Why, mother! It's an honor. 

KATH. [Indignantly] Is it well I'd rather a man would horsewhip me 
than to offer me such an honor! 

ROY. Governor Morton says it's father's duty. 

KATH. Governor Morton is not dictator in this family. [Getting more and 
more excited as she goes on; tears off her right glove} I'll answer this! 

GRIP. Wait a minute let us go slow let us talk the thing over. Now as 
I look at it this [Holding up the paper] is a peremptory military order. 

KATH. [Still indignant] But you are not one of this man's soldiers. 

GRIP. [Continuing] And it is signed by the President of the United States. 

KATH. [Amazed] Why, Griffith! You surely have no idea of obeying that 
order? 

GRIP. I don't know that Fve got the right to refuse. 

KATH. [Astounded] Griffith! 

GRIP. This is an extraordinary case. Here is a man at the head of a great 
nation 

KATH. [Proudly] The North is not the nation. I'm a Southern woman. 
Virginia is my home. The people there are my people. I did not leave it be- 
cause I didn't love it, or because I was not happy there; I left it because you 
were not happy there. [Begins to unconsciously , half angrily, excitedly, ta^e 
off hat r shawl and coat f throwing them on chair or table as she gets them off] 

GRIP. Katharine 

KATH. I left refinement, all my old and congenial friends and everything 
I had been accustomed to all my life. I have never pretended that it wasn't a 
sacrifice on my part I am not a hypocrite I realize the difference between 
my home and this house I never will, never can love this place. [Contemp- 
tuously] These narrow, penurious, unsympathetic Northern people are as far 
from me as day is from night. I don't hate them, but I've nothing in common 



GRIFFITH DAVENPORT 157 

with them. But I do love you and I've been happy, even here with you. I'll 
follow you into the frigid zone, if you ask me to but when the President of 
the Yankee States orders you to leave me and guide his Army against my 
country and my people, I say "No"! You shall not do it. 

GRIP. There are times when patriotism 

KATH. Griffith, this is a brutal war. You have said so yourself a hundred 
times. It isn't a war against oppression; it hasn't the righteousness of 1776 to 
sanctify it. It's a factional fight it's a political war! Patriotism! Think of our 
two brave boys with guns in their hands, ready to murder each other in the 
name of patriotism, and now you want to kill me [ Weeps} under the same 
delusion. 

GRIF. Katharine! This is the first time you and I have come to words on 
this question. I didn't believe we ever could have done so. I thought we un- 
derstood each other too well for that. You are very bitter against the North. I 
can't blame you for that, but I 

KATH. [Earnestly] No, Griffith it's not that I pledge you my word, it's 
not that it's you, my husband. I'm frightened I've lost my two boys I ex- 
pected that I was sort of prepared for that but oh! you t Griffith I never 
expected to lose you. I've always sort of hoped that when the time came I 
might go first. I don't want you in this war on either side. Oh, Griffith my 
husband, don't go for God's sake, don't go don't leave me here alone! 

GRIP. Katharine, [Pointing to picture} that is Abraham Lincoln, the 
President of the United States, after his inauguration March 4, 1861. [Taking 
cabinet photo of Lincoln from top of bookcase] This is Abraham Lincoln 
March i, 1862. Do you see the change in the face? No human being has ever 
suffered in a life time what this man has suffered in one short year. Men 
think it is a great thing to be the president of a great nation; and so it is, in 
time of peace; but ah, Katharine, in time of war! President Lincoln hasn't 
got a man he dare trust to map this country. [Shows map} Look at that. 
[Getting excited} He turns to me, and he says, "Davenport, I need you. 1 
answered when you all needed me. Now, when I need you" He points his 
accusing finger at me and says, "There is but one way to shorten this war, to 
lessen the awful slaughter, the carnage and suffering, on both sides. There is 
but one man who knows how to do this, and that man is" [Pointing to him- 
self} "you. And you have not done your duty to your country. No sir, nor to 
your God, until you have done that." [Falls into a chair overcome with his 
emotions, and buries his face in his arms} 

KATH. [Almost heart~bra%en} I know I know but ah to think of you, 
my husband, guiding an army against 



I5 8 JAMES A. HERNE 

GRIP. Look at that bridge. Do you remember that bridge on the 2,2.6. of 
last July? [Points out of window in direction of Long Bridge} Do you see 
young sons like yours dragging bleeding limbs across it? Do you see terror 
stricken horses trampling down those wounded boys? 

KATH. [Horrified] Don't, Griffith! For God's sake, don't! 

GRIP. It is for God's sake. I pray to my God that I may never see another 
such day in my life. If I knew how to prevent a railroad accident what 
would you think of me if I did not prevent it? 

KATH. You have sacrificed so much already, Griffith. You have impover- 
ished yourself 

GRIP. I know, I know 

KATH. The people down there loved you so before. I hoped that after all 
perhaps we mighfsome day go back there again, but now [Sh aJ^es her head] 
every man, woman and child in Virginia will hate and despise you 

GRIP. The people down there never understood me. But you you do. 
Would you ever have loved me had I been different? 

KATH. [Going to him. Firmly] No. 

GRIP. Will you respect me now, if I do not respect myself? 

KATH, No. 

GRIP. Then kiss me, and tell me to go. 

KATH. Do you realize what you ask of me? 

GRIP. Yes. 

KATH. Is there no other way? 

GRIP. I see none. 

KATH. Ah, Griffith! How can I say it? Suppose anything should happen 
to you? That you should be taken? [Breaking down] I'd never forgive my- 
self. I believe I'd kill myself. [Recovering herself] Griffith, I have made sacri- 
fice after sacrifice for you. Now you come to me and ask me to make the su- 
preme sacrifice of my life. I rebel. I cannot do it. [Decisively] I will not do it. 
[Changing her tone] Ah, Griffith, my husband, you are all I have! I love you 
I tell you I love you. I cannot give you up! 

GRIP. Katharine, this is not a question of your life or my life, or of our 
love for each other. The life of the nation is at stake. Abraham Lincoln calls 
out to me, "Help me to save the nation. Help me to save this nation." I can't 
shut my ears to his pitiful cry. 

KATH. You solemnly believe it your duty to go, do you? 

GRIP. Yes, Katharine. It is a duty I owe my fellow men on both sides of 
Mason and Dixon's line. It is a duty I owe to the man I helped to make re- 
sponsible for this war. It is a duty I owe the government under which I live, 
and of which I am an infinitesimal part* 



GRIFFITH DAVENPORT 159 

KATH. [Seeing that argument is useless] Well, then go! [This last with 
a supreme effort] 

GRIP. [Relieved] I knew I could depend on you. You are the bravest litde 
woman in the world. 

ROY. [Going to her tenderly] God bless you, my mother. 

KATH. [Smiling sadly] Why! Fm quite a hero! Go, Griffith, but before 
you go, I want to tell you one thing. I will go too. 

GRIP. [Astonished] Go where? 

KATH. Home. To my home. To Virginia. 

GRIP. [Horror-stricken] Katharine you will not do 

KATH. I will do just what you are going to do. Help the cause I believe in. 

GRIP. You will not do this ? 

KATH. Why not? If the Army of the Potomac needs you, the Army of 
Virginia needs me. 

GRIP. To think of you on a battle field or in a hospital 

KATH. Where can I be more useful now than among our sick and suffer- 
ing soldiers? 

GRIP. If I promise you 

KATH. Promises will not hold us together now. We have come to the fork 
in the road. 

GRIP. I'm not going to fight, Katharine. [Smiling] 

KATH. I believe Fd rather you were. I believe Fd rather see you with a 
sword or a gun in your hand than to see you guiding an Army against my 
country, against my people, against my son 

GRIP. [Pleading] Tell me that I shall find you here when I return. 

KATH. No! When you return Ffl come back, if you want me, but I must 
go now. I must do my duty as I see it just as you do yours. 

GRIP. You are right. Your heart is there. It is your duty to go. 

KATH. When are you to see your president? 

GRIP. [As if talking from a dream or reverie. Loo\s at watch] Now. I 
must go now. 

KATH. Tell him he must send me and my household through the lines. I 
shall take Sallie and Judy, Mammy and Uncle Ned; the others must shift for 
themselves. [Griffith's Ups part as if to protest. She divines his thought] I for- 
bid you to accept any position under him, unless he agrees to do this for me. 
It is* my right. 

GRIP. He shall do this for you or do without me. Good-bye. 

KATH. Good-bye, Griffith. 

GRIP. Won't you kiss me? 

KATH. Yes. [Does so tenderly and lovingly] 



160 JAMES A. HERNE 

GRIP. Sometimes we come to a fork in a road, Katharine and both 
branches meet again a few miles further on. Good-bye. [Katharine totters 
after him to the door as if to recall him; then goes to table and leans against 
it in a heartbroken way, and is immersed in the thought of her loneliness and 
of how she is to get away from this place quictyy. Griffith goes to Roy, ta%es 
him in his arms. They fas each other on the cheeJ^. Griffith pantomimes to 
Roy to comfort his mother. Roy signifies yes. Griffith goes slowly and silently 
out at street door, looking at watch as he goes] 

ROY. [Going to her} Mother! [Softly, putting arms around her. Sallie 
enters. She is crying softly} 

SAL. Mis Kate, John wan's ter shake ban's. He reg'men oddahed to de 
fron'. 

KATH. Oh! Yes John's a soldier too. 

SAL. 'Es, Mis" Kate. Kinder sojah not reglah. He 

ROY. [Enthusiastically] Aren't you proud of him, Sallie? 

SAL. I was proud at fust, Mas Roy, but seems des as ef Ah coulden be 
proud terday. [Sees Roy's uniform for the first time] Oh, Mas Roy is yo' 
[Sort of horrified] 

KATH. When do you go, Roy? 

ROY. Tomorrow, mother. 

KATH. Sallie, we must get ready to leave this place. [Picking up hat and 
walking things. Band, distant march] 

SAL. [Stops crying, loses all interest in herself and her own trouble, fright- 
ened and anxious] Leave heah, Mis Kate? Wha' fo'? Whar we all gwan 
ter now? 

KATH. [Tottering towards the door opposite from that which Davenport 
made his exit, speaks slowly, brokenly] Back to Virginia. [Goes slowly off 



SAL. Oh! Mas' Roy, wha's happen wha 

ROY. Hush! She's going back to Beverly, that's all. [Motions her to follow 
her mistress. Sallie goes slowly out at door L^E., looking bac\ at Roy, mys- 
tified and scared. Band music (march) nearer. Roy puts on his cap and goes 
to the window. March louder] 

CURTAIN 



BIBLIOGRAPHY 

JAMES A. HEENE 

SHORE ACRES ANB OTHER PLAYS. Revised by Mrs. James A,. Herne. Biographi- 
cal Note by Julie A. Herne, 1928. Contains Shore Acres, Sag Harbor, 
Hearts of Oa^. 

MARGARET FLEMING. In Representative American Plays, 1930 and later editions, 

edited by Arthur Hobson Quinn. 

BIOGRAPHICAL AND CRITICAL 

Herne, James A. "Old Stock Days in the Theatre," Arena, Vol. VI (Sept. 

1892), pp. 401-16. 
Herne, James A. "Art for Truth's Sake in the Drama," Arena, Vol. XVII 

(Feb. 1897), pp. 361-70. 
Corbin, John. "Drama," Harper's Weekly, Vol. XLIII (Feb. n and March 

4, 1899), pp. 139 and 213. [Griffith Davenport] 

Flower, B. O. "Mask or Mirror," Arena, Vol. VIII (Aug. 1893), pp. 304-13. 
Garland, Hamlin. "Mr. and Mrs. Herne,** Arena, Vol. IV (Oct. 1891), pp. 

543-60. 
Garland, Hamlin. "On the Road with James A. Herne," Century Magazine, 

Vol. LXXXVIII, NS. (Aug. 1914), pp. 574-81. 
"An Appreciation: James A. Herne, Actor, Dramatist and Man," Articles 

by Hamlin Garland, J. J. Enneking and B, O. Flower. Arena, Vol. XXVI 

(Sept. 1901), pp. 282-91. 

Hapgood, Norman. The Stage in America, pp. 61-9. 
Howells, W. D. "Editor's Study," Harper's Magazine, Vol. LXXXIII (Aug. 

1891), pp. 478-9. [Margaret Fleming] 
Quinn, Arthur Hobson. A History of the American Drama, from the Civil 

War to the Present Day, Vol. I, Chap, vi, "James A. Herne and the Real- 
ism of Character," pp. 125-62. Revised edition in one volume, 1936. 
Tiempo, Marco. "James A. Herne in Griffith Davenport," Arena, Vol. XXII 

(Sept. 1899), pp. 375-82. 



THE GREAT DIAMOND ROBBERY 
& OTHER RECENT MELODRAMAS 



A scries in twenty volumes of hitherto unpublished 
plays collected with the aid of the Rockefeller 
Foundation, under the auspices of the Dramatists' 
Guild of the Authors' League of America, edited 
with historical and bibliographical notes. 

BARRETT H. CLARK 
GENERAL EDITOR 

Advisory Board 

ROBERT HAMILTON BALL, QUEENS COLLEGE 

HOYT H. HUDSON, PRINCETON UNIVERSITY 
GLENN HUGHES, UNIVERSITY OF WASHINGTON 
GARRETT H. LEVERTON, FORMERLY OF NORTHWEST- 
ERN UNIVERSITY 

E. C. MABIE, UNIVERSITY OF IOWA 

ALLARDYCE NICOLL, YALE UNIVERSITY 

ARTHUR HOBSON QUINN, UNIVERSITY OF 

PENNSYLVANIA 
NAPIER WILT, UNIVERSITY OF CHICAGO 

A complete list of volumes, with the names of 
plays contained in each, will be found on pages 
256-7 of this volume. 



THE GREAT 
DIAMOND ROBBERY 

6* Other 'Rgcent ^Melodramas 

BY 

EDWARD M. ALFRIEND & A. C. WHEELER 

CLARENCE BENNETT . CHARLES A. TAYLOR 

LILLIAN MORTIMER . WALTER WOODS 

EDITED BY GARRETT H. LEVERTON 



INDIANA UNIVERSITY PRESS 
BLOOMINGTON 



Requests for authorization of the use of any of the plays in this 
volume on the stage, the screen, or for radio or television broad- 
casting, or for any purpose of reproduction, will be forwarded by 
Princeton University Press to the proper persons. 



ALL RIGHTS RESERVED 

Copyright 1940 by Princeton University Press 
Reissued 1963 by arrangement with Princeton University Press 

Manufactured in the United States of America 
Library of Congress catalog card number: 63-18068 



CONTENTS 

Introduction vii 

A Royal Slave, by Clarence Bennett i 

The Great Diamond Robbery, by Edward M. Alfriend 

and A. C. Wheeler 49 

From Rags to Riches, by Charles A. Taylor 101 

No Mother to Guide Her, by LJllian Mortimer 155 

Billy the Kid, by Walter Woods 199 



INTRODUCTION 

EiCE the plays of the theatrical period it represents, Recent Melodramas, 
as part of the title of this volume, needs a sub-title. Recency of the 
plays will have to be sufficiently elastic, as part of the tide, to cover a 
form of drama that began to make its appearance as early as the middle of 
the eighteenth century, reached the peak of its popularity at the turn of the 
present century, and may even today be seen in the repertoire of a few 
travelling dramatic tent shows which still perform in the more remote 
sections of the country. 

Melodrama drama with melody, or music developed in France in the 
early years of the nineteenth century and was a reputable dramatic form until 
the playwrights of the Ten-Twenty-Thirty theater carried emotion, charac- 
terization, sentiment and dialogue to such lush extremes that violent revolt 
arose to demand theater entertainment which had some slight respect for the 
playgoer's intelligence and his sense of the probable. This revolt against arti- 
ficiality and sentimentality has been so thorough that even today the adjective, 
melodramatic, is in popular usage a term of ridicule and contempt. Only in 
academic circles does the term remain as a definition of a valid dramatic 
form, and this definition is a far cry from the popular connotation of the 
word. It would therefore seem more accurate to identify the plays of this vol- 
ume by a term other than the unqualified word, melodrama. Perhaps the best 
classification would be one which relates them to the type of theater wherein 
they found their greatest popularity the Ten-Twenty-Thirty theater. 

Subtlety was not a virtue of the Ten-Twenty-Thirty plays. It was whole 
hog or none. In dialogue, the soul-thrilling mock heroics and rhetorical con- 
trast are still remembered for lines such as: 

"Thank Heaven I arrived in time." 

"You spurn my love, but the day will come when I can rend your heart as 
you are rending mine." 

"I am coming back and it will be when I am least expected." 

"Not without one kiss from those voluptuous lips/* 

Read any play of the period and you will find it plentifully filled with this 
heroic rhetoric which was calculated to (and did) throw the audience into a 
frenzy of emotion and pile up dolkrs at the box office. 

The plots of the plays were very much alike. Audience interest was not so 
much in the nature of the story as in the physical heroics or mechanical 



viii INTRODUCTION 

sensations which might be introduced. Everyone knew what the outcome of 
the plot would be, but the thrill lay in watching the huge whirr of a circular 
saw as it approached the log to which the heroine had been tied by the 
villain. Not until the saw had touched the heroine's dress would the hero 
arrive, just in the nick of time to throw the lever and save his sweetheart from 
permanent bisection. Never in the history of these plays had the hero failed 
to arrive either a second too late or too early. The audience revelled in this 
use of theatrical trickery and gave little heed to any cause and effect relation- 
ship of dramatic incident. The plays had a very simple code of morality. 
Villainy must always be punished and virtue always receive its just reward. 

The characters of the plays were types rather than individuals. Characters 
had names but that mattered little. Actually they were the hero, the heroine, 
the villain or "Jieavy," the adventuress, the toby, the rube, a foreigner, etc. 
Characters were always one hundred per cent true to type. Never a villain 
with even one tiny redeeming quality nor a hero with even a suggestion of 
a fault. Make-up and costuming were also according to type. Blond curls 
and white dress for the heroine, and boots, rawhide whip and long black 
mustachios for the villains. Red wig and blacked-out teeth for the rube and 
red dresses and large jewels for the adventuress. Foreigners also were always 
acted according to type. Although it is doubtful if many of us ever saw 
foreigners behave in the way these plays represent them, it is fairly safe to say 
that many Americans, because of early contact with these plays, still believe 
all Frenchmen to be debonair, well dressed and passionate; all Englishmen to 
be monocled and completely lacking in a sense of humor and all Irishmen to 
be red-nosed, happy, and hunting a fight. Likewise the Chinaman, the Jew, 
the German, the Italian and others have all been typed and the impression 
provided by the plays of this Ten-Twenty-Thirty theater remains basic in 
the average American's concept of a foreigner. 

There is little need for lengthy comment on the plays of this type. They 
are widely known and little respected. Amateurs (and professionals) produce 
them so that the audience may laugh at them. Critics and scholars regard 
them as the epitome of all that is bad in playwriting and acting. Text-books 
in American literature do not even mention the existence of this large field of 
dramatic writing. But in spite of all the indictments which can be piled up 
against the plays of the Ten-Twenty-Thirty theater, one rather challenging 
fact remains to disturb the scoffer. In spite of volumes of vitriol, these plays 
still remain the show pieces of a theater which came closer to reaching a 
universal audience than any other theater in all of history. Every village and 
town throughout the country had its Opera House or its Academy of Music. 
Each theater had four of five stock sets of scenery the cottage interior, the 



INTRODUCTION ix 

palace set, the prison, the center-door-fancy, and an exterior. Travelling com- 
panies fitted their entire repertoire into these stock sets and the theater was 
packed nightly at admission prices of ten cents for the gallery, twenty cents 
for the balcony, and thirty cents for seats on the main floor. Actors did vaude- 
ville acts in front of the curtain while between-the-act scene changes were 
made, and a set of dishes was given away on Saturday night to the holder of 
the lucky number. Throughout the country this theater flourished. Today's 
critics and historians speak of the American theater as having "grown up 1 * 
and "matured." Perhaps so, but today's managers would give much for even 
the tiniest fraction of the popular support and universal enthusiasm accorded 
the plays and actors of the Ten-Twenty-Thirty theater. 

It is unfortunate that what would have been the sixth play of this volume 
had to be omitted. In many respects, The Fatal Wedding, by Theodore 
Kremer, is one of the most characteristic plays of the period. Upon the 
author's death, rights to the play were inherited by relatives living near 
Cologne, Germany. The present war has made it impossible to locate these 
heirs and obtain the necessary permission to publish the play. However, in 
action, story and dialogue, The Fatal Wedding follows the same formula as 
the other plays of the volume. Its omission is regrettable primarily because 
of the play's importance as a leading box-office success throughout most of 
this period. 

Theodore Kremer was a graduate, in music, of the University of Leipsig. 
He is the author of seventy-five successful melodramas. A. H. Woods pro- 
duced approximately fifty of them and states that all were successes. The 
Fatal Wedding was the most spectacularly successful of all of Kremer's plays 
and it not only made a fortune for the author but it laid the foundation for 
the theatrical dynasties of Sam Harris and A. H. Woods- 

Kremer began his career as an actor in Australia and came later to San 
Francisco where he began to write. His better known melodramas include 
such successes as The Bowery Ajter Dar^ Wedded and Parted, Fast Life in 
New Yor^ A Race for LJfe f Queen of the Convicts, Fallen by the Wayside, 
The King of the Bigamists, and Secret Service Sam. The Fatal Wedding 
opened in Brooklyn in October 1901. Three weeks later it was presented at 
the Grand Opera House in Manhattan under the management of Sullivan, 
Harris, and Woods. For several seasons the play toured all over the country, 
breaking records for house receipts. In 1910 it was still one of the most suc- 
cessful of the stock-company offerings. Much of the play's success was due to 
the long series of intense situations which reached a climax in the escape 
of the hero across a rope over a yawning chasm. 



x INTRODUCTION 

Kremer made several attempts to write for the higher-priced houses but 
all of them met with failure. He retired with his fortune to a home in 
Cologne, Germany, where he died in 1923. 

A ROYAL SLAVE 

Clarence Bennett, author of twenty-eight plays which were performed dur- 
ing the many years he was associated with popular melodrama, is one of the 
most versatile personalities of the period. He began as an actor at McVickers 
Theatre in Chicago. There he was seen by Edwin Booth and taken on tour 
as a member of the Booths 5 company. Later, he established himself in such 
roles as Hamlet, Svengali, Monte Cristo, and as a comedy Mephistopheles in 
his own adaptation of Faust. For forty-five years he was associated with a 
number of managers in the operation of his own companies, and during that 
time toured the United States, several provinces of Canada, and as far south 
as Mexico City. 

Bennett was known not only as a highly successful actor, but also as a 
water-colorist and scene designer. He designed many of his own spectacular 
lithographs, and invented a process for painting scenery known as "diamond- 
dye scenery." He was among the first to paint many of his drops on scrim, 
thus making it possible to transport some of his most elaborate scenic efforts 
in trunks. He was also an early experimenter with salt-water dimmers. The 
Reading (Pa.) Herald, reviewing his production of A Royal Slave, com- 
ments on Mr. Bennett's skill in stage effects: "To add to the realism of the 
play, he has provided the finest scenic effects ever displayed on our stage, the 
whole forming a most exceptional entertainment. The beautiful scenery alone 
is well worth the price of admission." 

The history of the Bennett companies is the history of a trouping family. 
Clarence Bennett, Mrs. Bennett, and two daughters, Edna Marshall and 
Lydia Marshall, were in the early companies of A Royal Slave. Through all 
of her husband's long career, Mrs. Bennett was associated in the business 
management of their many ventures. As part of their varied theatrical activi- 
ties, the Bennetts even got out a house organ known as The Bennett Journal. 
It was circulated among the various companies simultaneously playing the 
Bennett successes in various parts of the country. It contained four pages of 
news of their repertoire and its success, and included special articles and 
poetry by Mr. Bennett himself. 

Mr. Bennett's daughter believes A Royal Slave to have been written by 
Mr. Bennett in the '8o*s, but not immediately included in the Bennett reper- 
toire. It was Mrs. Bennett who first realized its box-office possibilities. In the 



INTRODUCTION xi 

play's first year Mrs. Bennett booked a short tour and then "wildcatted" the 
rest of the season, doing such phenomenal business that the play was perma- 
nently installed in the repertoire as the backbone of the business. 

By 1900 the play was protected by copyright, but the exact date of the first 
try-out performance is not known, nor is the program available. The first 
available review comes from the St. John, New Brunswick, Daily Telegraph, 
of Tuesday, April 12, 1898: 

"The splendid production of Clarence Bennett's great romantic play, 
A Royal Slave, proved the greatest triumph ever scored by any repertoire 
company that has played in St. John. The play is remarkably picturesque in 
costume, scenery and situation. It offers the finest opportunities for artistic 
work from the brightest comedy to the most intense acting, and the entire 
company proved themselves equal to its most trying requirement. Mr. Ben- 
nett, the actor-manager, appears in the title role, and proved himself master 
of his art in its most noble phases, the romantic and tragic. 

"The scenery was the finest ever seen here in any repertoire production. A 
fine orchestra and a splendid line of specialties form a most pleasing innova- 
tion in relieving the monotony between acts. Miss Maude Malton in her 
wonderful fire, electric, and stereopticon dances; Miss Malton in her beautiful 
ballads, and Miss Clayton in her fine illustrated songs, were among the most 
striking and their work was of the highest order. No company has won such 
hearty applause or created such enthusiasm as this one. The house was filled 
to the doors and the standing room in the balcony was at a premium." 

A Royal Slave played continuously in the seasons between 1898 and 1915. 
Theatrical notes of the times are constantly reporting that some actor had just 
left to join the eastern, western or southern, Royal Slave companies. In 1902 
they were heading for Wallace, Idaho; in 1903, for Rhinelander, Wis.; in 

1904, for some one of the companies in Georgia, Alabama or Tennessee; in 

1905, for Glens Falls, N.Y.; in 1906, for Ashland, Neb. and so on for the 
surprising number of years during which it proved to be the piece de resis- 
tance in the melodrama houses. 

During its long life, the play had many casts. Clarence Bennett was the 
well known Aguila, and Walter Hubbell was one of the last to pky the part. 
Bernice Belnap was oae of the first Countesses, and Lulu McConnell one of 
the first Isadoras. James Kirkwood and Willard Mack were members of 
Royal Slave companies, and with the Gordon-Bennett company, Margaret 
Neville was, for a time, the feminine lead. 

The script as here printed, comes directly from one of Mr. Bennett's prompt 
books, noted with longliand directions, and containing the author's water- 



xii INTRODUCTION 

color designs for the sets. The scene plots are of particular interest in indicat- 
ing the extent of the scenery which the Bennett companies carried. 

Among the many other successes written by Clarence Bennett are: Ivan's 
Oath, Cafe Cod Fol\, In Pennsylvania, The Shadow of a Crime, A Noble 
Revenge, Thy Neighbor's Wife, and Uncle Sam in Cuba. 

THE GREAT DIAMOND ROBBERY 

When Colonel Edward M. Alfriend and A. C. Wheeler collaborated in 
writing The Great Diamond Robbery, they combined a varied experience in 
the theater. Colonel Alfriend had come to New York from Richmond, Va. 
He had served in the War between the States, commanding a company which 
he organized. In 1865 he returned to Richmond and the insurance business, 
but the theater always held a great fascination for him. In 1889 he left Rich- 
mond permanently and went to New York 'with the intention of becoming 
a dramatist. Among Mr. Alfriend's plays were: A Foregone Conclusion, pro- 
duced by the Madison Square Company; Across the Potomac, a Civil War 
play in which he collaborated with August Pitou; The Louisianians, a ro- 
mantic drama produced in repertoire by Robert B. Mantell; New Yor{; and 
The Great Diamond Robbery. 

A. C. Wheeler, born in New York, was a critic, essayist and novelist with 
a wide newspaper experience. While he was a member of the editorial staff 
of the Milwaukee Daily Sentinel, he first began to write under the pseudonym 
of "Nym Crinkle." He also served as a reporter on the New Yorf^ Times 
and as dramatic critic for the New Yor^ World, The Sun, The Star, and for 
a number of years was the writer of the famous "Nym Crinkle" column in 
the Dramatic Mirror, 

The Great Diamond Robbery had its first performance at The American 
Theatre in New York City on September 4, 1895, with the following cast: 

"Dick Brummage," W. H. Thompson; "Frank Kennet," Orrin Johnson; 
"Senator McSorker," Odell Williams; "Dr. Livingstone," Joseph E. Whiting; 
"Clinton Bulford," George C. Boniface; "Mario Marino," Byron Douglas; 
"Grandfather Lavelot," Joseph Wilkes; "Sheeney Ike," B. R. Graham; 
"Count Garbiadorff," George Middleton; "Jane Clancy," C. B. Hawkins; 
"Mickey Brannigan," James Bevins; "Jimmy McClune," Gustave Frankel; 
"Philip," Prince Lloyd; "Frau Rosenbaum," Madame Janauschek; "Mrs. 
Bulford," Blanche Walsh; "Mary Lavelot," Katherine Grey; "Mrs. O'Geo- 
gan," Annie Yeamans; "Peggy Daly," Fanny Cohen; "Madame Mervane," 
Florence Robinson; "Mary Watson," Ray Rockwell. 



INTRODUCTION xiii 

Although the play received both praise and blame from the critics, there 
was no doubt as to its success with audiences. In 1905 ten years after the 
New York openingthe play was still listed by theatrical journals as one of 
the most popular plays from coast to coast. 



FROM RAGS TO RICHES 

From Rags to Riches, a classic of the Ten-Twenty-Thirty theater, is one 
of a long list of melodramas written and successfully produced by Charles A. 
Taylor. The play had its initial performance at the Metropolis Theatre in 
New York City on August 31, 1903, and was immediately launched on a 
long and successful career which took it all the way across the country. In 
this play, Laurette Taylor (known at that time as Laurette Cooney), made 
her first New York appearance, and the role of "Ned" was played by young 
Joseph Santley. 

The play was presented in several New York theaters. In November of its 
first season it was playing at the New Star Theatre on Lexington Avenue 
with the following cast: 

"Edward Montgomery," Theodore Kehrwald; "Robert Brown," J. O. 
Cantor; "Herbert Bostwick," Frank Norton; "Charles Montgomery," Big- 
low Cooper; "Bella," Laurene Santley; "Mike Dooley," Sidney Olcott; "Chi- 
nese Sam," William Cummings; "Louis/' John O. Cantor; "Antonio Succo," 
Albert Livinston; "Handsome Jack," William Gane; "Fritz," Fred Snyder; 
"Mother," Lillian Marlin; "Albert Cooper," William Morris; "Gertrude," 
Anna V. Risher; "Flossie," Laurette Cooney; "Ned," Joseph Santley. 

Other popular and successful melodramas written by Mr. Taylor include: 
Belle of the Rio Grande, College Boy and Widow, The Child Wife, The 
Cradle Robber, Daughter of the Diamond King, The Derby Mascott, The 
Fortune Hunter, The Girl Engineer, The Girl Waif, Held for Ransom, The 
King of the Opium Ring, The Queen of the Highway, Rich for a Day, and 
The Scarlet Throne. 



NO MOTHER TO GUIDE HER 

Lillian Mortimer, author of No Mother to Guide Her, was one of the best- 
known leading women of the country in the popular- priced theater. She was 
not only an author and actress but she also produced the plays in which she 
starred. Although she was acting in her own plays as early as 1895, her great- 
est success did not come until 1905 when she first produced No Mather to 
Guide Her. During the first week of August 1905 tMs pky drew high praise 



xiv INTRODUCTION 

from the Detroit press. On December 4, 1905, the play opened at the Star 
Theatre in New York City with the following cast: 

"Ralph Carlton," John Lane Connor; "John Livingstone," John T. Nichol- 
son; "Silas Waterbury," Irvin R. Walton; "Jake Jordan," Frank B. Russell; 
"Farmer Day," Allen Elmore; "Tommy Fisher," Ray Carpenter; "Walter 
Perkins," H. A. Conels; "Frank Caldwell," Rau W. Gordon; "Parson 
Thomas," Charles C. Connor; "Officer Keough," Eddie Sargeant; "Police- 
man Toad," Jake Liebermann; "Captain Hennessey," Kirt Easfeldt; "Rose 
Day," Alice Morlock; "Lindy Jane Smithers," May Manning; "Mother 
Tagger," Eva Benton; "Bess Sinclair," Grace De Foy; "The Baby," by herself; 
"Bunco," Lillian Mortimer. 

The play was highly successful in New York and in succeeding seasons 
duplicated this success all over the country. For a time Miss Mortimer left the 
melodrama theater to become a headliner in vaudeville, but in 1911 she re- 
turned to continue her success in No Mother to Guide Her. The play was still 
being performed by her in 1913. Among Miss Mortimer's other plays were: 
The Shadow of the Gallows, The Girl of the Streets, Bunco in Arizona, A 
Man's Broken Promise, Kate Barton's Temptation, The Heart of the Plains, 
and A Girts Best Friend. 



BILLY THE KID 

Shot well, he did, 
And out of many 
A tight place slid 
$5,000 on his head 
Catch him 

Either alive or dead. 

# # * 

Six million people have seen Billy the Kid. Have You ? 

* * # 

To Managers of Theatres, Opera Houses or Town Halls in Connecticut, 
Massachusetts, Rhode Island, Vermont, New Hampshire, Maine, New 
Brunswick, Nova Scotia and Prince Edward Island: 

Get Ready for Big Business! 

Billy the Kid is headed your way. 

Has Been Witnessed by over Six Million People. 

Has played every important city in every State in the U.S 

Is the Champion Melodrama of the World. 

Is Seven Years Old and Still Breaking Records. 



INTRODUCTION xv 

SEE: 

The Famous Bandit Horse, "Silver Heels." 

The Battle in the Dark. 

The Hairbreadth Escape of Billy the Kid. 

The Kiss Auction. 

The Soul Stirring Bravery of the Boy Bandit. 

The Famous Broken Heart Saloon, 

The above is taken from the announcement sent out by the management of 
Billy the Kid at the opening of its seventh consecutive season of touring. 
Five additional seasons of continuous success were still to come. 

Billy the Kid, written by Walter Woods, opened its career of twelve solid 
seasons at the New Star Theatre in New York City on August 13, 1906. The 
Dramatic News proclaimed it "better than The Girl of the Golden West and 
the best melodrama I expect to see this season." The New York cast was as 
follows: 

"Stephen Wright/' Thos. J. MacMahon; "Mary Wright," Lorena Fergu- 
son; "Billy," Joseph Sandey; "Colonel Wayne Bradley," John C. Fenton; 
"Nellie Bradley," Marion Leonard; "Boyd Denver," Paul Barnett; "Con 
Hanley," Geo. M. DeVere; "Jim Storm," Frank Gordon; "Bill White," James 
Liet (later listed "Light") ; " 'Peanut* Givanni," Robt. G. Vinola; "Bud Mon- 
roe," Thos. J. MacMahon; "Hank Burke," T. Jerome Morley; "Arizona 
Jake," James Early; "Molly," Jessie Lansing; "Jennie," Adele Lyndon. 

Among the other plays of Walter Woods are: Between Trains, The Chi- 
cago Boy Bandit, The Girl of Eagle Ranch, Manuella, The Reformer ; The 
Sweetest Sin, Way of the West, Within jour Walls, and Woman's Place. 

GARRETT H. LEVERTON 
New York City 
August, 1940. 



A ROYAL SLAVE 
By Clarence Bennett 



SCENE PLOT 

ACT I. 

Our leg drops in i, 2, and 3. Our tree on yrd leg drop. Our bacJ^ drop in 4. 
Your wood wings to mas\. 

ACT II. 

SCENE i: Same as Act I, except tree. SCENE 2: Our rocfy pass drop in i. 
SCENE 3: Your fyitchen with jog and window set, as below. Our first act bac\ 
drop. 

ACT III. 



Our first act drop to bac}^. Our third act drop in 4. Our tabs, right and left. 
Interior backings, right and left. Our fancy borders. Have short and long lines 
in I and j ready for tabs. 

ACT IV. 

SCENE i : Our cave drop must be above tormentor. Use prison wings or wood 
wings at tormentor. SCENE 2: Our fourth act drop in 5. Our horizon wings 
left. Use sea cloth, our set winter and ground roll. Our platform, upright 
against drop, our cloth to cover same. 

ACT v. 

Our bac\ drop in 5. Our drop with center opening just below this. Our 
cut drop in 4, between cut drop and with opening. Our platform. Our steps 
for platform. Our table with lines, use in Act III. Our borders. Interior 
ings, right and left. 



PROP LIST 

ACT I. 

Fountain, with water connections and waste pipe complete up C. Rustic 
seat L.C. Tropic plants to dress stage. Cigarettes for Pedro, Jones, Countess. 
Knife for Aguila. Knife for Alacran. Dagger for Pedro. Bicycle for Jones. 
Note booJ^ and pencil for Jones. Heavy riding whip for Pedro. Purse for 
Carlos. Guitar L. by house tuned to play accompaniment. 

ACT II. 

Chimes in distance, 'fencing swords and daggers for Pedro and Carlos. 
Locket for Pedro. Blood-stained handkerchief for Countess. 

SCENE 3: Curtains, strung on rope, to draw, from stage screw C. C. 8 ft. 
high, to wing R. 8 ft. high. Cot bed in alcove R.C. Two chairs. Small table 
R. with crucifix and tumbler. Booths on table. Lace scarf for Isadora. Dagger 
for Countess. 

ACT III. 

Small sofa R. of CD. Two ordinary (light) parlor chairs R. and L. in 2. 
Table with handsome spread, crucifix, two handsome brass or silver candle- 
sticks with candles, small dagger f L.2. Heavy curtains, on bar, on CD. to 
close. Handsome furniture to dress stage. Swords for robbers. Knife for 
Alacran. 

ACT IV. 

SCENE i : Chains and manacles for Juan L.i. Ditto for Aguila, C., fastened 
to floor f long enough for him to raise his hands as high as his breast. Whip 
(heavy), blac\ bottle and combat fyufe for Matador. Old blankets, iJZ.iE., 
one L.iJE. Riding whip for Pedro. Bunch of %eys for Matador. Binding and 
rope for Aguila. Dagger for Pedro. Revolver for Jones. 

SCENE 2: Shar\ ready L. Boat and oar ready and roped to draw on, 
Moon box lighted and ladder behind scene. Stump in island. Men to 
sea cloth. Sash for Alacran. Mattress R.C. front of island. Plenty of salt and 
boy to throw it as directed. 

ACT v. 

Set same as Act HL Candles on table lighted, and matches for Padre to 
relight them. Dagger for Pedro. Swords for Carlos and Aguila. *Tric\ candles 
for Padre. Locket for Carlos. Letter for Padre. Two soldiers f with guns ready, 
. Blood-stained handkerchief for Countess. 



CAST OF CHARACTERS 

EL AGUILA, an Aztec, "Child of the Sun' 

COUNT PEDRO MARTINEZ, "El Capitan" 

HUMBOLT AGASSIS JONES, American newspaper correspondent 

LIEUTENANT CARLOS CASTILLO, officer in Mexican service 

PADRE DOMINGUS, priest and physician 

JUAN ALVAREZ, an insane captive 

BERNAL, robber lieutenant, \nown as "El Alacran" 

PHILLIPPE, robber guard, "El Matador" 

COUNTESS INEZ DE ORO 

ISADORA DE ORO 

BANDITS AND SOLDIERS 

ANNETTA, maid 

SYNOPSIS OF SCENES 

ACT i: Casa, or country seat of Countess de Oro, overlooking Valley of 

Mexico. 
ACT n, SCENE i : Wood in neighborhood of Casa de Oro. 

SCENE 2: Interior of Padre Domingus* house. 

ACT in : Countess house or hacienda near Puebla, near east coast of Mexico. 
ACT rv, SCENE i : Interior of cave of "El Capitan" near Puebla. 

SCENE 2: The islet of "El Toro" near Puebla. 
ACT v: Same as ACT in. Night. 
NOTE: The Padre can double Eernal; Carlos double Phillip fe. 



ACTL 

Drop in 5. View of valley and distant city of Mexico at sunset. Popocatepetl 
in background. Scene to change with gauzes to moonlight. Mexican house 
with verandah set L.2. and j. Low walls, gate C. Cross stage at bacJ^. Practical 
fountain with circular seat curb, C. Water plants in fountain, plants and 
flowers to dress stage. Tropical wings and borders. Countess R.C. on fountain 
seat. Pedro standing C. 

INEZ. I hear, count, that the dreaded Capitan has surprised another silver 
train in the Sierra Madre, and robbed it of nearly half a million. 

FED. Indeed? He is a brave fellow at all events. It seems strange that no 
one can capture him, or discover the secret of his identity. 

INEZ. It does indeed, senor. He has carried on his depredations since I 
was a child, and yet no clue has been discovered that could lead to his arrest 

FED. He must be very wealthy by this time. 

INEZ. It would seem so, senor. Do you know there is a slight romance in 
our family connected with him? 

PEI>. Indeed, senora? I beg you will favor me with it. That is, of course, 
if the story is not a family secret. 

INEZ, A secret? By no means! At least not from you, as you will shortly 
be one of the family. But I should not like the story to reach the ears of El 
Capitan, as it might attract his attention rather unpleasandy to us, and awaken 
in him a desire to investigate the mystery for himself. 

FED. [Smiling] Have no fear, senora. I am good at keeping secrets. 

INEZ. You must know, then to begin my story, I once had a sister. I have 
never spoken of her to you. She fell in love with a young man named Juan 
Alvarez of Puebla, between whose family and ours there had existed for years 
a deadly feud. He was the last of his race, and on him my father centered all 
his enmity. When he learned of the attachment between Alvarez and my 
aster Mercedes, he of course opposed the union most bitterly. But in spite of 
his opposition, Mercedes eloped with and married her lover. 

FED. What became of them? 

INEZ. My father was a man of iron. He disowned Mercedes. But despite 
his curses, they lived happily together for about three years, when a child, a 
daughter, was born to them. 

FEB. Your story is interesting, senora. Pray go on! 



6 CLARENCE BENNETT 

INEZ, Seiior Alvarez had a vast treasure in gold and jewels hidden. No 
one but himself knew where. Alarmed by the frequent depredations o El 
Capitan, he had determined to secrete it in a more secure place. And on the 
very day he purposed changing its hiding place, he was waylaid and mur- 
dered by El Captain. 

FED. How do you know this ? 

INEZ. Our old peon, Aguila, who was very fond of my sister, was with 
Senor Alvarez at the time, and in defending him, was severely wounded and 
left on the ground for dead. Recovering, however, he brought back the dread- 
ful news. My sister, nearly crazed by the death of her husband, not knowing 
where his treasure was hidden, exhausted her remaining resources in a fruit- 
less search for him. And finally, driven to despair, she lost her reason and 
disappeared. 

FED. But was the treasure never recovered? 

INEZ. No, senor. Meanwhile I had married at my father's command, 
Senor Antonio de Oro, an old but wealthy banker of the capital. My father 
died, Isadora was born as the fruit of this loveless marriage. Then Senor 
Antonio died and I was free again! Free! 

PEJ>. But did you never try to find the treasure? 

INEZ. Yes, senor. At my sister's death, Senor Alvarez' hacienda and estates 
at Puebla, remaining unsold, reverted to our family. I have searched there for 
it again and again, but always in vain. I could gain no clue to its hiding place. 

FED. Do you not suppose, senora, that your old peon, Aguila, may know. 
You say he was with Senor Alvarez when he was murdered. Might he not 
have made this Indian the repository of the secret of the hidden treasure ? 

INEZ. No, senor. He is true to our family, and thoroughly honest. He 
was so fond of my sister he would certainly have revealed it to her. 

FED. This old peon seems to hold a strange position in your family. He 
has been the nurse and confidant of three generations. He seems devoted to 
your race. 

INEZ. He was the playfellow and friend of my father in his boyhood, my 
sister's guarding spirit and mine, and now Isadora's constant companion and 
protector. He is as devoted to her as a faithful dog. I never had any love for 
him, but still I keep him for his profound judgment and wisdom. His coun- 
sels have been of great value at times. 

FED. His race rarely turns gray, but though he is rugged as an oak, his 
hair is white. 

INEZ. The fever from his wound and the exposure made his long hair 
fall out. And when it grew again, it was snowy white. 



A ROYAL SLAVE 7 

FED. He is a strange being humble, courteous, faithful to your family, a 
peon, a slave. He still has the dignity and bearing of a king. 

INEZ. Because he is a king. He is the lineal descendant of the Montezumas 
who once ruled Mexico. His kingly grace and bearing he owes to the royal 
blood in his veins, 

FEB. [Loo%s off L.UJE.] Senora, there is Senorita Isadora and that Senor 
Castillo. They seem very much absorbed in each other's society. 

INEZ. [Showing displeasure} Yes, I see. 

FED. You do not seem pleased at his constant attentions to your daughter. 

INEZ. Not altogether. [Crosses R.] 

FED. Nor am I. As you know, senora, I love the senorita, your daughter, 
and this fellow's interference is very annoying to me. Who is he anyway? 

INEZ. [Half severely] He is my guest, senor. But there, curb your jealousy. 
I promise you that I will see that you are not annoyed further. She is your 
affianced wife. You have my promise. That is enough. I have your interests 
at heart, senor. Leave her to me! But come with me. I do not wish to meet 
them now. Come. [Going R^.] 

FED. Your wishes are commands to me, senora. [Exeunt Inez and Pedro 
R*2. Enter Isadora and Carlos through gate from L.UJE.] 

ISA. [Looking at bouquet in hand} Senor Castillo, you have as good taste 
as a lady in the arrangement of flowers. I shall treasure this as a token of your 
skill. 

CARL. Ah, senorita I have been dallying here among the roses, forgetting 
that I was only a soldier. But the order came this afternoon that calls me 
from this scene of happiness to duty. I must leave tomorrow! 

ISA. [Looking up gravely} Oh, senor! You surely are not going away so 
soon. 

CARL. I must. You cannot dream how bright these days have seemed to 
me. Bright with the glory of your presence, the sunshine of your beautiful 
eyes, the music of your voice. They are a sweet spell that will haunt my heart 
while I live. 

ISA. Senor, brave men should not be 1 flatterers. 

CARL. The words that spring to our lips when we kneel before the Holy 
Mother, are not flattery, but devotion. Isadora, you are the saint shrined in 
my heart! You say I flatter, I answer "I love you." 

ISA. [Shyly] Oh, Senor Carlos! 

CARL. Tell me, Isadora may I hope? 

ISA. [Toying with bouquet] It is cruel, senor, to deceive those who 
trust us! 

CARL. Can't you believe me? 



8 CLARENCE BENNETT 

ISA. [Gives him her hand] Yes, Senor Carlos. For our good padre says 
"Out of the fullness of the heart the mouth speaketh" and if your eyes are 
mirrors of your heart, I am sure it is full of truth and goodness! 

CARL. [Joyously] It is filled with both, for it is full of you! I was but a 
plain honest soldier till I met you. And then the world seemed changed. The 
sunshine seemed brighter the flowers sweeter, the songs of the birds more 
joyous that such a bright being as you was in the world. 

ISA. [Coquettishly] How pleasant sounds the gurgle of the fountain! 

CARL. Yes! It is singing to you. And that lends it music. [Pause] Little 
senorita, can you love me? 

ISA. Oh, if I but dared to believe you! 

CARL. Why do you doubt me? I swear to you that you have grown into 
my heart till, while that heart shall beat, it will enshrine your image! There 
is no present joy, no future hope that does not mirror your sweet face. And 
in rny soul I would treasure and guard your love always as a holy thing! 

ISA. [Coyly] Do you mean what you say? 

CARL. Mean it! I have laid rny heart at your feet. You may read its truth 
in my eyes! 

ISA. Hearts are false and eyes too sometimes. 

CARL. Why do you doubt me, Isadora? 

ISA. [Seriously] I do not doubt you, Carlos. I love you! If you thirst for 
my love, the draught is yours. Take me! Our hearts shall throb in unison, 
our lives entwine till death, my Carlos! 

CARL. [Clasping her] Darling! If I were dying, your kiss upon my lips 
would, like the wizard's fabled elixir, awake my drowsy heart to love and 
life again! Are you happy now? 

ISA. Yes, Carlos always, with you! 

CARL. And can you trust your future, your life, your happiness to me? 

ISA, If not, to whom can I ever trust them? You are my future, my life, 
my joy! 

CARL. Bless your sweet lips for those words. [Kisses her] 

ISA. But, CarloSj are not love and happiness like the sweet cerus bloom 
a thing of beauty born at eve to fade and die ere morn ? A thing too sweet 
to last? 

CARL. Nay, trust me, dearest! Shrined in our souls, it will bloom on for- 
ever. In hearts of truth love is immortal! 

ISA. Dear Carlos! How sweet it sounds to call you by that name! 

CARL, Sweet indeed, breathed by your lips. [Kisses her] I must do as an 
honorable man should. I must tell your mother of our love and ask her for 
her little girl May I go to her now? 



A ROYAL SLAVE 9 

ISA. Yes, Carlos. 

CARL. I cannot rest till I can call you mine! Good-bye! Little sweetheart! 
When I come back, I hope to bring you good news. Good-bye! [Exit RJJJE.] 

ISA. He loves me! Oh, I am so happy! Dear, dear Carlos! Sweet flowers 
[Toying with them], you were his gift! [Kisses them} My brave, strong, 
handsome lover! I am so proud of him, I love him so. [Sings:] 

"Will you love me always, darling, 
Fondly, tenderly as now? 
When my eyes have lost their brightness, 
When the silver's on my brow? 
Will your kiss be just as tender, 
Just as fond your strong arms fold, 
And your voice as kind and gentle? 
Will you love me when I'm old?" 

[She loo^s off L.UJZ.] Here comes dear old Aguila! I must tell him. [Hides 
up L. f amid -flowers. Aguila enters C. from L.U., sets large pulque jar by 
fountain, and seats himself, wiping perspiration away] 

Ac. The day is as hot as a fiend's breath! None but the sun's children 
dare stand before him today! I wonder where my little senorita is? My little 
nightingale should come when the stars peep through the twilight's purple 
curtains. [Isadora steals up behind him and ta^es his head in her hands, pisses 
him on the hair] 

ISA. Who is it? 

AG. An angel! 

ISA. [Laughing] Oh, no, Papa Aguila! It's only me. 

AG. Well, I was right! 

ISA. Oh, no, you weren't! You didn't know me! 

Ac. Not know you, my beautiful! Does the bee know the flower whose 
heart is full of sweetness? Whose kiss but yours ever blesses my old white 
brow? And it touches it with a glory like the sunlight on the snowy head of 
yonder mountain. A crown more royal than the one my fathers wore. There, 
at its feet! 

ISA. [Kneeling L. of him] You are a king to rne, Aguila. 

AG. [Sadly} No, only a peon. A poor old skve! Your old Aguila! 

ISA. No! You are a Montezuma! A royal child of the sun! And, more 
than all, my dear old papa! [Pats his chee^ playfully] 

AG. [Moved} My darling child! [Looking in her eyes} What makes my 
little seSorita's notes so glad and tender today? Is there some singing joy 
making its nest amid the white blossoms of her young heart? 



io CLARENCE BENNETT 

ISA. [Demurely, taking his hand between hers] Papa Aguila, I have never 
had a secret from you, and I must tell you this. The dearest, sweetest secret 
of all! For I know that no one loves me as you do no one shares my joys 
and sorrows like you. There is a joy at my heart tonight! 

Ac, I know what it is, I have read the hope in your bright eyes long ago, 
before you dared to own it to yourself. The Senor Castillo is young, brave 
and tender, and my little mistress is fair, sweet and gentle and so your 
hearts turned toward each other like the courses of the brooks that blend 
their pure tides in one channel. You love and you are loved, and in that 
thought as in an urn, blossom the flowers of joy! 

ISA. [With bashful joy, laying her chee\ against his hand] How good 
you are! How wise. You know my heart before I do myself! 

Ac. Ah, my child! May you never learn the bitter lessons of sorrow that 
crush the hope out of young hearts! Would I might shield you from it all! 
All! 

ISA. Sorrow seems so far away tonight! But should it ever come, you will 
help me, will you not, you will always love me, Papa Aguila ? 

AG. [Clasping her] Ah, would I not, my child. As the palm loves the 
singing brook purling in its shadow, and bends lovingly and tenderly over 
its pure, deep heart, so do I love my little senorita. So would I shelter her 
from the fierce heat of the countess' anger, from the mad hurricane of mis- 
fortune, though it should rend my withered branches and lay my old trunk 
in ruin beside her. 

ISA. Dear old Aguila! 

Ac. [Rising and going L. with her] Fear not, little one! Should trouble 
come, leave all to old Aguila. He will win back to you the joy that shall live 
when he is dust! Corne, my bright eyes, come! [Exuent in house} 

JONES. [Appears at bac^ C. from L.] Well, by Jove! This is the neatest 
I have seen in this country. A perfect earthly paradise! Paradise and the peri. 
Where's the peri, I wonder? I'll reconnoiter! [Writes in noteboof(\ "Ha- 
cienda embowered in feathery palms, amid whose waving plumes fitful 
gleams of tropic sunlight steal, like bright fairies, laying their tresses in the 
murmuring fountains, chasing the roseate shadows in and out among the 
bloom-laden bowers, kissing the perfume, breathing lips of flowers as rarely 
beautiful and purely bright as a saint's dream of Heaven." There! That will 
read well in the Herald. [Enter Annetta from house, stands watching Jones] 

ANN. Buenos dias, senor! 

JONES. Ah! The peri, by Jove! Your servant, senorita! I hope I don't in- 
trude. I was coming down the pass, and seeing this beautiful spot, could not 
help hiding from the heat in such a charming place for a moment. 



A ROYAL SLAVE 11 

ANN. [ Curtseying] Oh, sefior, I am sure you will be most welcome. The 
countess' house is always open to visitors. I am sure she will be pleased to 
entertain the nice American gentleman. 

JONES. [Fixing his collar and tie] Ahem! And you, my pretty little flower 
of Mexico! Would it please you to have me stay? 

ANN. I arn sure the senor would be a much more charming guest than 
that cross old Count Pedro Martinez. 

JONES. What a lovely picture of tropic female loveliness! 

ANN. A picture? Why, senor, are you an artist? 

JONES. Well, no, not exactly. 

ANN. I'm glad of that, for I don't like artists! 

JONES. [Quickly] Oh, well, I am no artist! I never could draw anything, 
not even two pair. In fact the only thing I can draw is my salary and 
mosquitoes! 

ANN. You see, senor, there was an artist from San Francisco who boarded 
with mother, just back of the cathedral, in the city yonder; and he went away 
without paying his board. Mother is very poor, and could not afford to lose 
the money. Sefior, is San Francisco in America? 

JONES. What charming ignorance of geography! [Aloud] No, my dear, 
it is in China. The wretch was a Chinaman in disguise! 

ANN. [Coyly] I am glad he was not an American! But there was a senor 
from New York who made a great deal of money selling shares in some 
silver mine, and when he left Mexico suddenly, the people here began trying 
to find out what they had bought, and they are still trying when they don't 
stop to rest and swear. 

JONES. Oh, he was an Indian. 

ANN. Oh, no, senor! We have Indians here. He was not dark like them. 
I arn sure he must have been a white man. 

JONES. No, you see he was from the Manhattan Reservation. They look 
like white men till you know them; but they are Indian savages all the same. 
I hope you have never had any newspaper correspondents down here. 

ANN. I think not, senor. What is it Eke? 

JONES. Well, it's a sort of gentleman angel, if you can imagine such a thing. 

ANN. I cannot. 

JONES. Well, there are such things, but they are rare. He goes about seek- 
ing whom he may interview, trying to be pleasant and see all that he can and 
get acquainted with everybody and get them to talk to him 

ANN. Oh, I see! You are a correspondent! 

JONES. [Starting towards her] You are an angel! 

ANN. [Running into house, laughing] Adios, seSor! 



12 CLARENCE BENNETT 

JONES. She's a charmer! The prettiest girl I ever saw! I must not lose 
sight of her. Hello! Here comes someone! These Mexicans are like their 
cactuses, they blossom with welcome and wait their chance to stick you. 
[Enter Carlos R.iJE.] Senor, I beg your pardon for this intrusion, but I 
stumbled in here quite unexpectedly, upon this little Eden. You see, I am 
an American writing up Mexican society, scandal, science, stocks, soldiery, 
spondoolix, et cetera. My name is Humbolt Agassis Jones, at your service. 

CARL. [Recognizing him] What! My old friend Jones? 

JONES. Castillo? Shake! I'm delighted to see you. 

CARL. And I to see you, senor. We have not met since that night a month 
ago, when your bravery saved me from El Capitan and his band. 

JONES. Friend Carlos, I guess we saved each other. You fought like a lion. 
I guess I am more indebted to you than you are to me. 

CARL. Indeed, no! Senor Jones. 

JONES. [Laughing] Wasn't it lively fun though? If you hadn't been such a 
crack shot, El Capitan and his cutthroats would have fallen heirs to our petty 
belongings watches, wallets, wash-bills, toothbrushes and all. To say nothing 
of that little indispensable to travellers called life. 

CARL. It was a narrow escape, senor. And we owe it to your reckless brav- 
ery. You Americans never know when you are beaten. Well, I'm heartily glad 
to see you. [Shades hands again] 

JONES. What are you doing here? You sly rogue! Daphnis and Chloe, I'll 
warrant! Some fair senorita? Come! Confess! 

CARL. Well, I will be frank with you. That is the reason of my prolonged 
stay here. But "The course of true love " you know the adage. 

JONES. What's the matter, old fellow? Is the fair divinity deaf to her wor- 
shiper, or is the Duenna lynx-eyed, or, worse than all, is her mama obdurate? 

CARL* Neither. On the contrary, I am certain I am not an unwelcome 
guest, for the Countess Inez, my hostess, treats me with the most marked 
kindness. But when I try to have a word alone with the fair senorita, Isadora, 
I am always thwarted, I don't know how. 

JONES. Castillo, we are sworn friends. Let me help you. Introduce me 
here, and rely on my aid. 

CARL. Thanks, senor! I'll do it. It seems I must be doubly indebted to you. 
Both for life and happiness. You are indeed a friend. 

JONES. There, there! You owe me nothing! It will serve my purpose as 
well. It will give me an insight into Mexican high life and society. 

CARL, [Looking off R.} Ah, here comes our hostess. And with her, that 
old Count Pedro. He is always in my way! 

JONES. Who is he? 



A ROYAL SLAVE 13 

CARL. I fear he is a suitor for the hand of Isadora. 

JONES. So! He's the stumbling block is he? Well, 111 roll him out of your 
way. I'll keep him so busy he'll have no time to interfere. [Enter countess 
and Pedro R.iE.] 

CARL. Seiiora, pardon the liberty I take! A friend of mine was passing 
when we met quite accidentally. I presumed on your hospitality by detaining 
him. Allow me to present him to you. 

INEZ. Your friends are mine, senor. 

CARL. Thanks, senora! Permit me to introduce my dear friend, Senor 
Jones, from the United States. Senor Jones, the Countess Inez de Oro. 

INEZ. You are most welcome, senor. I can only thank Senor Castillo for 
bringing us such a pleasant guest. 

JONES. [Kissing her hand} Thanks, senora. So royal a welcome could only 
come from such queenly lips. 

INEZ. [Smiling] I did not know you Americans were such adroit flatterers. 
Our gallants had best look to their laurels in the fine art of compliment. But 
pardon me! My guest and friend Count Pedro Martinez, Senor Jones. 

JONES. [Offers hand] I'rn glad to meet you, count. 

FED. [A dead shafe] Your servant, senor. [Folds arms. Jones does sizing 
up business] 

CARL. Senor Jones and I have been sworn friends since a month ago, when 
being fellow travellers, we one night encountered El Capitan and his band in 
the Passo del Rey. I owe my life to his bravery that night. 

JONES. Senora, don't believe him! He is as modest as he is brave. He 
fought like a tiger, and is the best shot I ever saw. But for him I should have 
been in paradise or perdition tonight and a month's rent due. 

PED. Sefiors, you were fortunate few men have met El Capitan and lived 
to boast of it. 

INEZ. Which proves how brave they both were. 

PED. Still, senora, their escape was little short of a miracle. 

JONES. [Aside] Where have I seen him before? 

CARL. [Aside to countess} Senora, may I have the honor of a word with 
you, alone, when convenient? 

INEZ. [Up L.] Certainly. Count, will you kindly play the host for me for a 
little while, and show Senor Jones around the grounds? I wish to speak to 
Seior Castillo a moment, and then well join you. 

PED. [Down R.C.] Your wishes are pleasures to me, senora. 

INEZ. [To Jones who goes up L.] Sefior, make yourself perfectly at home 
here. I am only too happy to have the pleasure of numbering you among my 
guests. 



14 CLARENCE BENNETT 

JONES. I shall need no coaxing, senora. An angel's invitation to a paradise 
is sure to be accepted. [ They tal\ together, Jones points off to vista at bacJ(\ 

BERNAL. [Peers from trees, R^.] Hist, senorl I am here. [Aguila enters 
LXJ., sees Bernal, stops] 

FED. Caution! Watch your chance. He, Castillo, is in my way. A quick 
blow and be off. You can steal my horse. 

BERN. My own is near by. 

FED. Good! [Exit Bernal, R.W. Exit Aguila R.UJE. Annetta enters from 
house} 

JONES. [Aside] The angel again, by Saint Thomas Jefferson! 

IN$Z. Annetta, tell Parquita to prepare the west room for a guest and tell 
Manuel to be ready to start down to the city. 

ANN. Yes, senora. May I go with him? 

INEZ. Yes. 

JONES. [Crossing R. behind Inez, aside to Annetta] I am going to stay 
here! 

ANN. I am glad, sefior. 

JONES. Are you, little sweetheart? [Inez looJ^s around, Annetta slips into 
house, Jones goes up C. expatiating in pantomime on the beauties of the 
scene] 

INEZ [To Pedro] Pardon my breach of etiquette, senor. I thought you had 
joined us. 

PED. It is nothing, senora. [To Jones] Come, sefior I will be your guide. 
[Jones and Pedro bow to Inez and exit R.jJE. Tremolo, pianissimo, passion- 
ate, till countess off] 

JONES. [Aside, as he goes] It isn't the first time he has been "guyed." 

INEZ. [Coming down with Carlos] Now, Senor Carlos, we are alone. 
What is it? 

CARL, Senora, you have been so kind, so good, but I have the greatest of 
all favors to ask of you. 

INEZ. Sefior Carlos, what would I not do for you? 

CARL. You give me courage, senora. I love your daughter. Will you give 
her to me for my wife? 

INEZ. [Sits on fountain seat C] Sit down by me, Carlos. I want to talk to 
you. You are a strong, brave, noble man. You do not want this child. She is 
not your equal in any way. She is not mate for such a man as you. This is a 
mere passing fancy! 

CARL. A passing fancy, senora? I love her, I adore her! Won't you give 
her to me? 

INEZ. [Breaking forth passionately] Oh, Carlos! I cannot! I cannot! 



A ROYAL SLAVE 15 

CARL. [Surprised} Cannot? Why, senora, why? 

INEZ. Listen, senor, and then condemn me if you will My father was a 
man of iron. His will was law. He forced me, a motherless girl of fourteen 
into a hated marriage with Senor de Oro, a man older than himself. His only 
merit was his hoarded gold. I was sold to him, body and spirit. I cannot call 
that hated union a marriage! I loathed him! 

CARL. Poor senora! What -misery, what despair! 

INEZ. Do you pity me, Carlos? Nay, listen. Isadora was born as the child 
of that loveless marriage. I almost hated the child for her father's sake. Then 
he, my master, my owner I will not call him husband! died, and I was 
free at last. My heart, chilled in its budding hope, lay frozen in my breast till 
I met you. Turn away your face, Carlos! Do you not see all? I cannot give 
you to her because I love you! 

CARL. [Amazed} You love me! 

INEZ. Yes! Don't speak, Carlos! I love you! Your touch thrills me and 
makes my heart leap, my blood run riot in my veins! I never knew I had a 
heart till it wakened at the music of your voice! Now it is a tide of passionate 
love that sets toward you as the river toward the sea! She is but a child, cold 
and weak as her father before her. 

CARL. I love her, senora! I will be a good son to you and love you as a 
mother. 

INEZ. [Wildly} Mother! I am not an old woman, Carlos! As a son? 
Never! As my own, my lover, my husband, my life? Yes, always! With a 
love that defies death itself! You are the only being I have loved since my 
childhood. I cannot lose you thus! Oh, Carlos, forgive me. I cannot crush my 
love, my hope! Your words stung me till they wrung this cry of despair from 
my lips and tore the hidden secret from my heart! Oh, Carlos, I love you so! 

CARI~ Oh, I am so sorry for this, countess! Sorry for your sake, for all our 
sakes! 

INEZ. Beware! Love passionate as mine makes us angels or fiends. If re- 
turned, its warmth and light are poured out like the sunshine on the flowers. 
If pent and curbed, its fierce heat blasts what it would have cheered and 
bkssed. 

CARL. Pardon me, senora! I cannot control my heart! Will you not let me 
be your friend, your son, giving you that pure love a son may give a mother? 

INEZ. [Starting up} No! If you cannot be mine, I will not place before me 
the torturing sight of your affection for another, the caresses that might have 
been mine but for her. [Pedro appears R. at bacl(, listening} 

CARL. Think of your child's happiness. 



16 CLARENCE BENNETT 

INEZ. [Laughs bitterly] I have wasted my life in sacrificing my heart to 
the happiness of others; you have said it, "I cannot control my heart!" Listen! 
To watch her love for you, your tenderness to her, would drive me mad, and 
I should kill you both! [Pedro exits IJ.j. Countess jails on foees, arms around 
him} Oh, hear me, Carlos! At your feet, forgetting all my pride, I plead for 
your love! Strong natures such as yours crave more than the weak return of 
cold hearts like hers. Think of the wealth of my love for you, and contrast it 
with the poverty of hers! Renounce her, Carlos, and take my heart, my soul, 
my life if you will! 

CARL. [Freeing himself} Woman! Are you mad? 

INEZ. [Starts up, laughing wildly} Perhaps I am. I hope so! To breaking 
hearts madness is a sweet oblivion, a blest lethe of forgetfulness. [Falls onto 
bench} 

CARL. Are you a mother? Can you stand in the way of your child's hap- 
piness, and let your selfishness cast its shadow over her young life? Would 
you doom her to suffer the misery of seeing her blighted hopes realized by 
the cruel mother who could have saved, and has betrayed her? Woman! The 
very tigress is more tender of its young! 

INEZ. You spurn my love! The day may come when I can rend your heart 
as you are rending mine! Will I spare you then, will I show mercy? Aye! 
The same mercy you show me now! I have laid all on the altar of my love! 
You scorn the offering. Tremble lest the angry flame leap up consuming the 
idol at whose feet it burned! Mark me! I would kill her with my own hands 
before you should have her! You have your answer! Farewell, seiior Ha! 
Ha! Ha! [Exits in house f laughing bitterly. Pedro comes down L. slowly, 
from R.jE.] 

CARL. [Sinfe in despair on fountain} Name of Heaven! This is terrible! 
Is it love or madness? Does all hope end here? [Starts up} No! By the angels! 
I will win her yet! I [Turns R. facing Pedro] Your pardon, senor! I did not 
see you. [Crosses Pedro to R.] 

PED. [Detaining him] Stay a moment, senor. I am here with the countess' 
consent, as a suitor for her daughter's hand, and I want no interference. 

CARL, [Defiantly] Should she ever become your wife, you would then 
have some right to dictate who her friends may be, certainly not now. 

PED. [Hotly} My rights and my actions are my own, and not subject to 
the approval of a fortune-hunting adventurer. 

CARL. [Quickly] Sefior [Restrains himself] My blood is as pure as yours, 
a noble! If my purse is lighter, so is my greed. 

PED. [In rage] Greed, fellow! 



A ROYAL SLAVE 17 

CARL. It has never been necessary for my family to hide the sources of its 
wealth! 

FED. {Attempts to spea%] Ah 

CARL. [Interrupts him] Nor have I grown old in low cunning, craft and 
wickedness! 

FEB. [Starts to stride him with glove] Fool! Your life shall pay for this! 

CARL. [Grasps wrist] You forget that you are playing the gentleman! We 
are guests here, and have no right to settle our differences before the doors 
of our hostess. 

FED. Enough, senor! You shan't have that excuse! Words are useless be- 
tween us! If your heart is as brave as your tongue, meet me tomorrow morn- 
ing at sunrise, at yonder bridge. Our meeting without witnesses, and our 
cause to the tribunal of brave men. [Touches sword] These! 

CARL. [Bows] I will be there, senor. Till then farewell! [Exit C. and L.] 

FED. [Countess enters from house] Dog I'll cut his heart out! [Sees 
countess] Ah, senora. 

INEZ. You seem annoyed, count, what is it? 

FED. I am annoyed, senora. I cannot brook that Castillo's attentions to 
Isadora. Give her to me at once! 

INEZ. I will, senor. You shall be wedded tomorrow if you will. 

FED. [Kissing her hand] Senora, you are too good! Tomorrow let it be 
then! And now, good-night! 

INEZ. Good-night, count. Tomorrow, at noon. Good-bye till then! [Exit 
Pedro, C. and R.] Ha, ha! Carlos Castillo! The game is mine. [Exit R.iE. 
Enter Carlos C. from L.] 

CARL. My darling! I may never see her again! But if I live she shall be 
mine, I swear it! My dear one, my beautiful, good-bye, good-bye! [Sees guitar 
by hammoc\ on porch} Ah, Isadora's guitar! It shall be my messenger, and 
bear her my adios. [Sings. Music tremolo f hurry, pianissimo] 

Dark night o'er the sad earth fell, 
Sad to bid the day "Farewell"! 
Sad and dark my spirit true, 
As it bids farewell to you 
Soft the night wind's gentle sigh, 
In the rose-heart dew-tears lie. 
Thus my heart, with sigh and tear, 
Bids farewell to thee most dear! 



i8 CLARENCE BENNETT 

Though the happy day is done, 
There will come another sun 
Though we part in grief and pain, 
Darling I'll come back again! 
Love, I leave my heart with you! 
Keep your heart to Carlos true! 
Sad the word as tolling knell! 

Oh, my life! Farewell! Farewell! [Lays down guitar and 
turns to go. Up C] 

ISA. [Cautiously at door] Hist! Carlos! 

CARL. [Turns quickly \ Isadora! [Clasps her. Bernal creeps out RJI. with 
foife. Draws bac\ to stab Carlos. Aguila springs on after him, wrenches %nife 
from him and foocfe him down. Chord fortissimo] 

Ac. Coward! 

BERN. [Styilfyng off R.] You red devil! We shall meet again! 

Ac. [Picking up {nife \ Never but once, and then I'll leave you for a buz- 
zard's feast. 

ISA. [Going to him] Are you hurt? 

Ac. No, estrella de mia alma! 

CARL. Aguila, you have saved my life! I shall not forget this, my friend. 
[Offers purse; Aguila refuses] 

Ac. All for her, senor! Be kind to her and make her happy, and old 
Aguila will be repaid a thousandfold! [Puts her in Carlos' arms. Going up C.] 

CARL. I will! I swear it! [Calls] Aguila! 

AG. [ Turns] Senor ? 

CARL. You are my friend. Meet me tomorrow morning, half an hour after 
sunrise, at yonder bridge. I may need your aid to care for a wounded man. 

Ac. I will be there, senor. Say nothing of that murderous dog! Leave him 
to me. I will guard you as though you were my own son, for you are her 
happiness! Good-night! 

ISA. [Rushing to his arms] Dear old Papa Aguila! Bless you! Bless you! 

Ac. Flor di cielo! My darling child! [Kisses her and exits C+ and L*] 

CARL. [Hurriedly] My life, my hope! I must leave you. Your mother will 
not yield. But fear not! I will win you yet! Good-bye, my dear one! 

ISA. [Clinging to him] Oh, Carlos! My heart will break! Must you leave 
me? 

CARL. Yes, dearest, for your sake. But the countess must not see us to- 
gether here! Aguila shall tell you our plans. If I am seen here, you will suffer 
for my rashness. Be brave, little woman! [Kisses her] Fll soon come back. 
[Chord segue as before] 



A ROYAL SLAVE 19 

Ac. [Rising at bacf(\ Hist! Senor Carlos! Away! [Exit Carlos C. and L.] 

INEZ. [Coming on R^E., seizing Isadoras wrist] You wretch! I saw your 
clandestine meeting with your lover! Girl, mark me! You shall renounce 
him! Tomorrow, at noon, you wed Count Pedro Martinez! 

ISA. [Starting up] Never! 

INEZ. [Enraged} I swear it, girl! Tomorrow you shall be his bride or 
death's. Choose then! Your answer! [Chord, hurry, pianissimo, suit action} 

AG. [Springs up, Isadora in arms] No! [Pedro appears at bacl^ with riding- 
whip. Comes down bacJ(\ 

INEZ. Dare you defy me? 

Ac. Yes! I have been the slave of your family for sixty years! I have 
obeyed your slightest wish, not through fear, but love and duty to your race. 
That love makes me defy you now. 

PED. [R-C. Threatens with whip] Dog! [Aguila raises hand command- 
tngly] 

Ac. Hold! I am a peon, a slave the Spaniard's faithful dog, as you will, 
but not a cur to One cut of that whip, and I am a sleuth-hound at your 
throat the blood of kings is in my veins and cannot brook a blow! 

PED. [Strides at him with whip] Dog! Take that! 

Ac. [Wresting whip from him, throws Pedro C. on his face] And with it, 
your life! [Draws machete] 

ISA. [Kneeling R. of Aguila] Stay, Aguila, spare him for my sake! 

Ac. I can wait! [Inez, R. opposite 2. Pedro, Aguila, C. Isadora, fyneeling 
R.C.] 

PICTURE 

ACT II. 

SCENE i : Eight bars lively at rise. Handsome tropic landscape, 2. Bridge to run 
on RJI. with connected groundpieces r to draw off. Scene fixed for boxings to 
revolve up from tormentors for Scene 2. Early dawn. Distant chimes ringing 
at rise. Valley of Mexico. 

JONES. [Discovered sitting on bridge, writes] "Beautiful view, snow-capped 
mountains, faint cathedral chimes, purple leagues, tropical sunrise, distant 
city, lovely valley, seen through lace-like llanos and plumy palms, fern em- 
bowered limpid brooks." Limped brooks? No! It runs crooked but it don't 
limp! "Staggering brooks** is better. [Corrects} There, that will do for the 
sketch, III put in the coloring later. [Sings] Hello, who's that? [Loof^s 
of Mm] Carlos, as I Eve. Buenos dias, caballero! 



20 CLARENCE BENNETT 

CARL. [Smiling, enter Ra.] Buenos dias, Senor Humbolt. You are out 
early. 

JONES. Yes, and you too. You see I am up to catch the tropic sunrise and 
dish up a little journalistic mess for that gossip gormand, the American Pub- 
lic, But what gets you up at this hour? 

CARL. [Evasively] I could not sleep. Besides, I had an appointment at day- 
light. 

JONES. Isn't the view fine from this point? I could linger here for hours 
admiring it. 

CARL. My friend, will you do me a favor? 

JONES. Certainly, Carlos. What is it? 

CARL. [Sun gradually up] Go and find Aguila, the old Indian 

JONES. I say, Carlos, why are you so anxious to get rid of me? Oh, I see! 
The appointment at sunrise. I beg pardon! Oh, you sly fox! A love tryst, and 
this the trysting place! And I am in the way! "Two's company, three's a 
crowd!" Ha, Ha, Ha, Ha! 

CARL. [Gravely. Tafes Jones' hand] My friend, it is a tryst of death! I 
have an appointment to fight Count Pedro Martinez here, at sunrise. 

JONES, I'll be your best man. No, that is, I mean, your second. 

CARL. The duel was to be without seconds. That was the agreement, and 
I must hold to it. But I thank you. There! Leave me now and return with 
Aguila in half an hour. One or the other of us will need your good offices. 
Should I fall, tell Isadora. 

JONES. [Grasping his hand} I will do as you wish, Carlos. But I don't trust 
that Senor Count. I dread foul play from him. 

CARL, I have no fear. He is at least a gendeman. 

JONES., [Aside] I doubt it! [Aloud. Shafting Carlos' hand warmly] Good- 
bye old fellow, and good luck! If Mr. Count harms you, he will owe me the 
next dance! It will be "Pistols for Two! Balance all, Second Couple Lead 
Out!" 1*11 fill him as full of windows as a Long Branch cottage! [Exit Rz., 
over bridge] 

CARL. This is an unpleasant affair, and the sooner it is over, the better. 
What detains Martinez? [Loot(s off R.] Here he comes now. [Enter Pedro, 
R.iE.] Good morning, senor! 

FED. Good morning! You are prompt. [Music through fight till Carlos 
fulls] 

CARL. [Preparing] Yes. [They drop jackets and serapes and sombreros. 
Serape round L. arm. Pedro drops loc\et. They fight. Count crowds in and 
hits Carlos on head with fynije and stabs him. Carlos jails. Pedro rises, laughs 



A ROYAL SLAVE 21 

cruelly, throws off serape. Chord fortissimo, Inez enters R^. as Pedro f(neels 
to finish Carlos. Inez throws him R.] 

INEZ. Hold! Murderer! You have killed him! [Kneels, ta^es Carlos' head 
on %nee f staunching blood with her handkerchief] 

FED. [Smiling] Yes, senora, according to the code! Dead, but all fairly. 

INEZ. Fiend! You murdered him! 

FED. He was your lover. 

INEZ. It is false! 

FED. Senora, I heard your burning words of love to him last night, by the 
fountain. I heard him spurn your heart! I have avenged you! 

INEZ. [Furious] Are you my bloodhound to track to death all that offend 
me? Assassin! Did I bid you drive your cruel steel through that heart around 
which my own heart-strings had twined? 

FED. No, senora. But as I am to be your son, I killed the man who insulted 
your love and crossed mine! 

INEZ. What! You my son, and your hands red with his blood? Never! 
Tomorrow's dawn sees her in the convent of Santa Madre. Begone, monster! 
Never let me look upon your face again! 

FED. [Bouring] As you will, senora. Farewell! You will repent your anger, 
and give her to me yet! 

INEZ. [Fiercely] Never! Go! 

FED. [Smiling] We shall see! [Exits R.iJE.] 

INEZ. [Passionately] Oh, Carlos! Forgive me! Speak to me! Did I bring 
you to this ? Look up, Carlos! I forget your words of scorn, forget all save that 
I loved you! [Kisses him] Oh, that my kisses might breathe their passionate 
life into your lips! Were my heart cold in death, your clasp would make it 
leap to life again, though my soul stood at the gates of paradise! Your kiss 
would lure my spirit back from Heaven to you! Oh, are you dead? [Feels 
heart] No, no! He lives! His heart beats faintly yet! Perhaps I may save him! 
[Enter Jones over bridge] Oh, Carlos! You shall not die! You shall not! 

JONES. What! Carlos wounded? Ah, senora! Let me lead you away. This 
is no place for you. This is no sight for woman's eyes. 

INEZ. But to leave him thus! 

JONES. [Kneels, feels heart] Leave him to me. You can dispatch for a doc- 
tor, and send me aid to bear him where he can have careful nursing. Thank 
Heaven, he lives! 

INEZ. Ah, sefior, you are too kind! Save him for Heaven's sake! 

JONES. Fear nothing, lady! He is my friend I shall do all in my power 
foe him. [She staggers] But you are faint! Let nie help you across the bridge. 
[Exit with her over bridge. Aguila and Padre enter JLi JE.] 



22 CLARENCE BENNETT 

Ac. There, padre, I have told you all. You are her friend! The Church, 
your sacred office, your wisdom can protect her, poor child! I can do nothing! 
I am only a slave! 

JONES- [Running on R^E.} Aguila! Padre! Quick, Carlos has been 
wounded! See! [All to body. Aguila lifts him tenderly and, after, puts htm on 
Padres %nee for examination] 

PADRE. Wounded? Nomen coeli! Let me look! [Taf(es him on \nee. 
Aguila rises at bacJ(\ The Saints be praised! He lives! [Pause for business} I 
do not think the wound is deep. And this handkerchief has stopped the flow 
of blood. I can save him. 

Ac. [Seeing locket. R.C.] Ah, what is this? [Picks it up] Saints in Heaven! 
My dear lady my Mercedes' picture! 

PADRE. [Surprised] Mercedes! 

Ac. Yes! How came it here? Master Juan wore this locket the day he was 
captured by El Capitan! I was with him, and was left in the pass for dead. 

PADRE. Then the man who lost it must have been El Capitan! 

JONES. Yes, that is certain! We have got him then! 

PADRE. [Surprised] What do you mean? It cannot have been him, for he 
was a mere boy at the time. 

JONES. No! I mean his antagonist. He must have lost it. 

PADRE. Who was he ? 

JONES. Count Pedro Martinez. Carlos told me, not half an hour ago, that 
he had an appointment to fight the count, here, at sunrise. 

AG. [Aside] Ah, the assassin last night! I see it all! El Capitan's hireling! 

PADRE. Come! Bring him to my house at once! Not a word of this to a 
living soul, I charge you. Come! Follow me! [They bear Carlos off L.iJ?.] 

SCENE 2. 

JONES. [Entering R.iJE. loo\$ R. and L.] Nobody in sight along the pass. 
Aguila will take some short cut, I suppose. Indian like, he knows every by- 
path in the country. Hello! What is that, through the trees, yonder? The flut- 
ter of a petticoat! Oh, Annetta! Sweet Annetta! Would to goodness I could 
get her! I would not envy kings their thrones, if she'd be Mrs. Humbolt 
Jones! Short meter, please! 

ANN. [Entering L.iE.] Oh, senor! I am so glad I have found you! 

JONES. So am I, my sweet Annetta! But you look frightened. What's the 
matter? 

ANN, I am frightened, senor! But it's for you* 

JONES. For me? Why, what have I done? 

ANN. I have an awful secret to tell you! 



A ROYAL SLAVE 23 

JONES. A woman and a secret! All right, Annetta. Ill help you keep it. 

ANN. Oh, senor! this is no jest. You are the friend of Senor Castillo; and 
you and he fought with El Capitan's band, in the Passo del Rey and escaped 
from them, did you not? 

JONES. [Surprised] Yes. But how In thunder did you find that out? 

ANN. Listen, senor! Last night I went down to the city, to visit my mother, 
who is poor; and to whom I take my wages as often as I can go to her. Well, 
she was sick; and I went for a doctor for her. As I was coming home, I saw 
two men near the back of the cathedral. They were rough-looking men, and 
I was afraid; so I crept into one of the dark corners and waited for them to 
pass. They were talking earnestly and did not see me. I heard one of them 
tell the other that El Capitan wanted him to skulk around the Hacienda de 
Oro and kill Senor Castillo; but that the Indian had balked him; but that 
he would finish his work, and would not forget to put that red watch-dog to 
sleep, and that American too! For, said he, he finished six of the best men in 
the band, in the Passo del Rey; and that one of them was his brother. 

JONES. Oh! He will, will he? Well, if he "monkeys" with me, he'll join 
his brother in the Happy Hunting Grounds quicker than a "jay" will bite a 
three card monte! 

ANN. I was so frightened, senor! It seemed that I could not get back here 
quick enough to tell you. 

JONES. So, you little dear, you didn't want me to be killed, eh? 

ANN. Oh, no, senorf 

JONES. Well, my Guardian Angel, it was very kind of you to take so much 
pains on my account; and I am very grateful to you. I shall be on my guard, 
you may be sure. But I am not afraid of them. 

ANN. Oh, senor! You do not know that terrible El Capitan. 

JONES. Oh, yes I do! I had a short call from him and his whole family in 
the Passo del Rey. It was a very lively visit, too! 

ANN. They glide like snakes and bite you from the thicket, when you least 
expect it! 

JONES. Yes, but sometimes the snake gets "snaked" out of his nest! Why 
don't they catch the scoundrel? 

ANN. Oh, I forgot to tell you the rest. The man who threatened to kill 
you, told the other one tie shortest way for him to go home with his goods 
to die cave, was by the Passo del Ferdinand, to the mouth of the Toreador's 
Canon; and then to follow up the stream for a mile, where, by the large 
f alien pine tree across tbe stream, he would see die path that led to the cave. 



24 CLARENCE BENNETT 

JONES, [Dancing for joy] We've got him, Annetta! [Seizing her and 
waltzing her around} We've got him! Tol-de-rol-de~rol, -de-rol! Tol-de-roodle- 
de-ray! 

ANN. Got whom, senor? 

JONES. El Capitan and his whole nest full of snakes! Listen, my darling 
Annetta. Don't say a word of this to anyone! The Government of Mexico 
offers a reward of ten thousand dollars for the capture of El Capitan. Now, 
you say your mother is poor. You have discovered his hiding-place, and that 
money is yours! 

ANN. Mine! Why, I cannot capture him, senor! I am only a weak woman. 

JONES. See here, Annetta! Don't you breathe a word of this to a soul! You 
have trapped him, and I'll capture him for you. You get the money and 111 
get lots of fun and a "crackerjack" of a newspaper article! Your mother will 
be comfortable for the rest of her life, and you can be a lady of fashion. 

ANN. I don't care about myself, if mother could have a nice home in her 
old age and not be poor. 

JONES. You are a good little daughter, and would make an angel of a 
wife; and that is just what I need in my business. 

ANN. But, senor, you had better not try it. 

JONES. What ? Getting married ? 

ANN. No. Capturing El Capitan. You might get killed, 

JONES. Then you don't want me to get killed, eh? 

ANN. Why, certainly not! I I 

JONES. [Eagerly] Well, "You you" you love me a little bit, then? 

ANN. Well, I'd like you much better alive, senor. 

JONES. Yes! I wouldn't be an interesting corpse! See here, Annetta! Let's 
get down to business! I'll catch that blankety blank robber and get the reward 
for you. I don't want a penny of it; but want to put your mother on "Easy 
Street." I've never seen her; but I like the old kdy for your sake. Now I am 
not a bad sort; but average up pretty well on a general invoice. I love you 
harder than a Mexican mosquito can bite; and I want you to marry me! 
There! What do.you say? 

ANN. [Laughing] Much obliged! 

JONES. You're welcome. 

ANN. But, senor! I hardly know you! 

JONES. Not know me? Why, we're partners in business! Annetta, Jones 
and Co. Robber Catchers, Cave Finders, Etc., Etc. Look here! If you don't 
consent, I'll go and get killed by El Capitan and every one of his band that 
I come across! I am determined to get married or murdered. 



A ROYAL SLAVE 25 

ANN. Well, don't get killed, sefior; and we'll try to get better acquainted. 
I must have time to make up my mind, you know. 

JONES. Remember! I can't hope to live unless I live to hope! 

ANN. You'd better live to hope, then, seSor! 

JONES, [Trying to tyss her] My angel! 

ANN. [Eluding him} Wait till we're better acquainted! I haven't given 
you my promise yet, remember! [Exits L.I., laughing] 

JONES. No; but you will! You shall! Like General Scott, I have set my 
heart on the conquest of Mexico! Well, I must be oflf for the padre's! We'll 
catch that cuss as sure as Lord made little apples! [Exit L*i] 

SCENE 3: Interior of priest's house. Door with curtains R. flat, window in flat, 
C. Set door L.UJE. backed exterior. Couch in C. at bac\. Large robe or mat 
L.C. at bac^ Door L. flat backed interior. Chairs R. and L. opposite 2. Carlos 
insensible f on couch, Jones and padre over him. Aguila on watch at window. 

PADRE. Watch close, Aguila. Warn us of anyone's approach. I think he is 
regaining consciousness. The wound is not deep, and he is only weak from 
loss of blood. He has received a hard blow on his head that has done the most 
of this. 

CARL. [Opening his eyes} Water! [Jones gives it] Where am I? 

JONES. Among friends, Carlos. How do you feel? 

CARL. Very weak. Am I wounded? 

PADRE. Not very badly. I will have you on your feet again in a few days 
if you will obey me. 

CARL. To whom am I indebted for this kindness? 

JONES. To the good padre and faithful old Aguila. 

CARL. [Taking Jones' hand] And you, my more than friend! 

PADRE. Yes, senor. 

JONES. Padre, you should know your patient. This is Colonel Carlos Cas- 
tillo. 

PADRE. [Surprised] Son of Antonio and Maria de Castillo? 

CARL, [Surprised] Yes, padre! How did you know that? 

PADRE. Thank Heaven that I can serve you! I have not seen you since 
you were a child. Carlos, you are my sister's son! 

CARL. [Trying to rise] What! My uncle, Padre Domingus? 

PADRE, [Taking his hand] Yes. There! You must lie quiet now, my boy. 
The Holy Word says "Thou shalt not kill" My son, you have nearly lost 
your life by disobeying Heaven's command. I must heal you body and soul. 

CARL. Uncle, there are some insults oo man can bear. I am a soldier, and 
it is better to die like a man than live like a coward! 



26 CLARENCE BENNETT 

PADRE. [Soothing him] There, there, my son! I'll not be uncharitable to 
you! Young blood is hot, and who knows? Had I been a soldier instead of 
a priest of Heaven, I might have done as you did! Who was your antagonist? 

CARL, Count Pedro Martinez. 

PADRE. Did you see him drop anything where you fought? 

CARL. Yes. I remember, when he threw off his scrape, I saw something 
glitter and fall. It was about the size of a coin, and was gold. 

JONES. We have the rat in the trap! 

PADRE. [Showing locket] Might it not have been this? 

CARL. I think likely. Did you find it there? 

PADRE. Yes. Listen, my son! You may do the state a better service than 
risking your life in a duel. Fourteen years ago Juan Alvarez was waylaid and 
probably murdered by El Capitan. On that day he wore this locket. It con- 
tains the picture of his wife, Mercedes. It has never been seen till today. The 
man that lost it was probably the one who took it from the body of Alvarez. 

CARL. [Excited] El Capitan? 

PADRE. El Capitan! 

CARL. [Trying to rise] I will go at once to the guards 

JONES. [Restraining him] No, Carlos! Remember your wound 

CARL. Tis nothing! A soldier's trade is to give and take hard knocks like 
a man. I will seize his servants. They shall confess. 

PADRE. No! You must let your wound heal first. 

CARL. [Wildly] And in the meantime he may win her? What! Spare my 
body and lose my soul's hope? What is the pain of this scratch to a broken 
heart? 

JONES. Hear me, Carlos! Leave him to me. Aguila will guard the little 

senorita. 

Ac. Yes, with my life! 

JONES. For her sake, you must remain here under the good padre's care. 
Til track that wolf, and if he shows his teeth at the American eagle, there 
won't be enough of him left to write an epitaph over! Good-bye. I'll see you 
later! [Exit door LJJ.] 

Ac. [At window} The little senorita is hastening up the walk. [Tremolo 
pianissimo till Isadora on] 

PADRE. Quick! Help me in here with Carlos! [They lift him off in cot 
DJIJ?*] My son, not a word rill I bid you! The sudden shock might kill her 
or drive her mad. If you love her, keep silence. 

CARL. I will, padre, I will! [Padre closes curtains. Knoc% at DZ,$.] 

PADRE. [Seated R.] Enter! [Isadora runs in, dropping shawl. Falls on her 
foees by padre] 



A ROYAL SLAVE 27 

ISA. Oh, padre! Carlos, my Carlos! My love, my life, is dead. 

PADRE. [Stroking her head] There, there, calm yourself, my child. We are 
all mortal. Let us hope for the best. 

ISA. Hope! What hope is there for me now? Speak of hope to the con- 
demned wretch, to the castaway, struggling with the waves, for they have 
still a thread to cling to. But not to the woman whom death has robbed of 
all that life held dear to her! The word is but a cruel mockery! These are not 
childish tears that a caress can soothe. Mine is a loving woman's woe! 

Ac. [Wiping away his tears] Poor child! It seems so cruel not to tell her! 
[Turns to window] 

PADRE. My child, remember you are a Christian! Have faith in Heaven! 
Through faith the dead have been called back to life! Remember the story 
of Lazarus. "Though dead, he yet lives." 

ISA. [Looking up] Oh, good Padre Domingus! I see the joy in your eyes! 
He is not dead! You fear to tell me suddenly! See! I am strong! Tell me! If 
you have any mercy, tell me! Is there any hope? 

PADRE. Yes, my child! 

ISA. Alive? Thank Heaven! Bless you for your kind words of comfort! 
[Sobs on padre's breast] 

PADRE. There, calm yourself, my daughter! He is alive, but it must be a 
close secret for a time. Can I trust you? 

ISA. Trust me? For Carlos* sake? O father, yes! But why must it be a 
secret? 

PADRE. You shall know all in good time. 

ISA. But where is he? May I not see him? 

Ac. [At window] Oh, padre, the countess! [Music, hurry, pianissimo f till 
countess on] 

PADRE. Quick, my child! Not a word, not a breath or you are lost! Your 
lover is in there! In! In! [Isadora flings open curtains] 

ISA. [Falling on faces by couch] Carlos! 

CARL. [Clasping her] My darling! [Padre closes curtains. Knoct^ L.jJ?. 
Aguila throws himself in L.U. corner , under rug] 

PADRE. [Killing time] Coming! Coming! [Opens door] Ah, my daughter! 
Yon are welcome. Come in! 

INEZ, [Enters and comes C.] Padre Domingus, you are the skilled physi- 
cian both of the body and the stricken spirit. You devote your life to healing 
die ills of all that come to you in sickness or affliction. I have come to claim 
your good offices for my poor, heartbroken child! 

PADRE. Your child? What do you mean, sefiora? 



28 CLARENCE BENNETT 

INEZ. Padre, my daughter's lover has been killed in a duel. The blow has 
broken her heart. I come to you to crave an asylum for her within the con- 
vent's holy cloisters. There she may end her sad days in thoughts of Heaven, 
and learn consolation from the sweet and solemn service of the Church! 

PADRE. I understand you, countess, better than you think. The convent is 
a refuge for the world-weary spirit, not a prison in which malice or treachery 
locks its victims. You cannot use the Church of God to do the work of Hell! 

INEZ. [Astonished] Padre! What do you mean? 

PADRE. You look on your child, not with a mother's, but a rival's eye, and 
would make the Church the toil of your wicked plans. Thou monster! 

INEZ. False priest! You have refused her the convent's refuge, then she 
shall wed Count Pedro Martinez! 

PADRE. If you try to force her into such an unholy marriage, I know the 
secret of your cruelty to your dead sister, and will blast you with it. 

INEZ. [Startled] What? Do your worst! I have wealth and power, and I 
will crush you! 

PADRE. Though you were an empress, what were your puny power to me? 
I am the servant of the King of Kings! What is the little might of man 
matched against a holy faith, throned in the faithful hearts of millions? 

INEZ. She is my child, and must obey me! 

PADRE. We shall see! If you refuse your consent to her marriage with 
Carlos, I will crush you! [Music, hurry, pianissimo, till curtain} 

INEZ. [Catching at his words'] If I refuse? Ah, he lives, then! [Sees shawl] 
See! She, too, has been here! [Tears open curtains] So! I have found you? 
[Drags her L.C.] 

ISA. [Kneeling at her feet] Mercy, mother, mercy! Do not tear me from 
him! My heart will break! 

INEZ. [Seizing her wrist] I care not! Come! 

CARL. [Struggles up] You human tigress! You shall not! Would you kill 
her? You have said it! You ah! \Sin\s exhausted by bed. Padre springs to 
catch him] 

PADRE. Woman! Would you have his blood on your hands? 

INEZ. I'll bend her to my will though she goes mad! [Throws Isadora to 
her L., as Aguila, throwing off rug r springs and catches Isadora with his L. 
arm] 

Ac. Not while I live! [Countess with a cry of rage, draws stiletto from 
her hair f stabs at him. He catches her wrist in R. hand. She drops dagger} 

PICTURE 



A ROYAL SLAVE 29 

ACT HI. 

House near the coast, at Puebla. Handsome Mexican interior. Large window 
with wooden shutters to open in, in C. Backed by garden in 4. Large panel 
pictures R. and L. of C. window. R. picture to open. Blac^ or stone backing to 
panel. Set door R.^E. Scene boxed. Dressing table LJJ E. NOTE: This can be 
set with three-door fancy, or with plain chamber by having drapery over C. 
window. Enter countess R.$JE. At rise, eight bars of stormy music. 

INEZ. I have her safe at last! It was a good thought of mine, to bring her 
here to Puebla. They will not follow us here! She shall not elude me this 
time! Locked in this room, she cannot escape! I will send for Count Pedro at 
once. He shall marry her immediately. Though she kills herself at the altar, I 
care not! I hate her for her father's sake! What is Antonio de Oro's brat 
to me? I was but the slave bought with his gold! She is the child of hate, 
not of love! I owe her nothing. Would I had strangled her in her cradle, then 
she would never have risen between me and my love! Oh, Carlos, Carlos! 
My darling! You shall be mine. I would sell my soul for you! As for that red 
traitor, Aguila, he shall die! Defiance to me! His mistress! Manuel has prom- 
ised to silence him forever! Poor Manuel! Poor faithful fool! He would go to 
his death at my bidding! He shall stab him while he sleeps. No dog of a 
peon shall defy me and live! [Laughs wildly. Grasps her head} Oh, my brain! 
My brain! Am I going mad? No! No! I will not! It is only this sleepless 
fever of desperation. With her once out of my way and Aguila dead, I can 
rest! [Jones passes window R. to L.] Who is that? [Runs to window} The 
American senor! How could he have followed us here? I must be calm! 
[Calls RJ.} Annetta! 

ANN. [Entering R.I.] Yes, senora countess! 

INEZ. There is a gentleman coming: Sefior Jones. Admit him and make 
my excuse. I will see him presently. 

ANN. Very well, senora countess. [Exit Inez RjJE. Jones foocfe, LJJE.~\ 

ANN. [Opening door} Good morning, Senor Jones! Come in! 

JONES. [Entering} What? My sweet Annetta? And alone too? Fm in luck! 

ANN. The countess told me to say she would be in, presently. 

JONES. Then, to business! Will you marry me? 

ANN. Why, you have not captured El Capitan yet? 

JONES. Was that the condition? I am going today. I was only waiting for 
your answer, I wanted to koow whether I was to get married or massacred. 

ANN. Oh, you mustn't get killed! It isn't a bit nice! 



30 CLARENCE BENNETT 

JONES. To die is bitter, but it is better than to love Annetta and then not 
get her! 

ANN. Why, senor! Lam only a poor girl, a servant! I am no wife for a 
gentleman like you. 

JONES. Annetta, the accident of position cuts no ice with Jones! Poverty 
is no crime; and a servant may be more of a lady than the mistress she 
serves! Annetta, a poor girl who is a true, pure woman and a good daughter, 
is a queen among women if she is crowned with a servant's cap! I want a 
wife who is a wife. Put your head here, please, and say: "Yes!" 

ANN, [Putting head on his breast] Well, then, yes! 

JONES. America has taken Mexico! 

ANN. No! Mexico has taken America! 

JONES. Well, America and Mexico have signed an eternal treaty of love 
and union. Let's sign the treaty, thus! [Kisses her} Signed, sealed and deliv- 
ered! Now El Capitan is a dead man! 

ANN. Is he dead? 

JONES. Well, no, not yet. He's just hanging round till I get there, but he 
will be! 

ANN. Hist! The countess! [Enter Inez R.i. Annetta bows and exits L.i] 

INEZ. Ah, Senor Jones! I am glad to see you. Come in. 

JONES. [Entering] Pardon my intrusion, countess. Do not think I wish to 
interfere in your affairs. I have come as the friend of Carlos 

INEZ, [Graciously] And you are welcome! It is no intrusion, senor. I am 
very glad that you have come, for I can say to you what I could not say to 
him. You think me cruel, heartless. I am not. When you know all, you will 
see I am just and right. 

JONES. It is not my place to question the actions of a lady under her own 
roof, senora. 

INEZ. Will you hear me, senor? 

JONES. Certainly, senora. 

INEZ. Do you think I could be cruel to my own child, senor? 

JONES. [Evasively] Such things have been before now. 

INEZ. I am a friend of Carlos. To justify myself and cure him of his foolish 
infatuation, I must unveil the skeleton in our family. Know, then, that Isa- 
dora is not my child! 

JONES. [Surprised] Not your child? 

INEZ. No. She is the child of Senor Antonio de Oro, my husband, by a 
slave! Carlos is of noble blood, one of the oldest Spanish families. I love him 
as though he were my own son. Now what sort of hostess would I be, sefior, 
to let him wed this child of shame? 



A ROYAL SLAVE 31 

JOKES. [Incredulously] If this be true, sefiora, how came you to rear her 
as your own child? 

INEZ. My husband was so much my senior, that my love for him was more 
the love of a daughter. Hence I was free from those jealousies that would 
have tortured a wife. He loved the bright child, and as we had lost our own 
daughter in infancy, to please him I reared Isadora as my own child. 

JONES. Pardon me, countess! But it seems hardly credible. 

INEZ. It is true nevertheless. No matter what that scheming padre may 
say to the contrary. He knows nothing of the truth. In fact, I have hidden all 
evidence of the secret so carefully that I now have no proof to confirm my 
statements. But the fact remains. I feel that I have only done my duty by 
Carlos, although he may feel unkindly toward me. 

JONES. Does Senorita Isadora know of her origin? 

INEZ. No, senor. No one would ever have known of it, if I had not been 
driven to reveal it. I will be frank with you, senor, for I feel that I can trust 
you. I love Carlos, and I could not bear to see him won away from me by 
a creature whose very existence is an insult to Heaven, and whose origin 
must bring the blush to every honest cheek. 

JONES. [Shrewdly] It seems strange, sefiora, you did not think of this when 
you made her your child, gave her your name and the place of your own 
offspring in your house. 

INEZ. Senor, could I refuse the last request of that old man as he lay there 
dying? He had always been kind to me, although he knew I could not love 
him. He had given me position, title, almost boundless wealth. Could I do 
less than share the name and fortune I owed to his bounty with the child he 
loved? My gratitude to him was stronger than my scruples. You cannot 
dream how hard it is for me, even now, to betray his secret! Had her love 
fallen on anyone in the world but Carlos, the secret should have remained 
buried forever. 

JONES. [Aside] What a lawyer she would have made! [Aloud} I will tell 
Carlos what you have said, senora. 

INEZ. [Gitring her hand] Senor, you are so good! Tell him all, and then let 
him judge me calmly and honestly. 

JONES. [Rising] Well, senora, I must be going. [Aside] Perhaps the padre 
can unravel this snarl of lies. [Aloud] Good-day! 

INEZ. [Shading hand] Senor, I thank you for this call, as it has given me 
a chance to save Carlos and vindicate myself. Good-bye! [Exit Jones. She 
laughs triumphantly] There! I have mack Carlos' pride my ally. He will not 
wed a child of shame! Ah, Padre Domingus! I told you I would conquer 
yet! Woman's wit against man's power! It is a desperate game, but I have 



32 CLARENCE BENNETT 

won! Aguila's lips once sealed, no one can disprove my story. [Goes to door 
RjJE.] You may come out now. [Music, tremolo, pianissimo, till Isadora on] 

ISA. [Entering] Mother, if you have one kindly feeling, if your heart is 
not stone, do not torture me any more! Do not threaten me with this hated 
marriage with Count Pedro! Or, if you are merciless still, why, kill me! I 
am ready to die! 

INEZ. Perhaps I may if you do not obey me. You marry Count Pedro at 

once! 

ISA. [Falling on tyees] Oh, mother! Have pity! Mercy! 

INEZ. [Throwing her off] Child, it is time this farce was ended! Listen! 
You are not my child! You are the child of my husband by a slave! You are 
a thing of shame! 

ISA. [Defiantly] It is a lie! 

INEZ. [Sneeringly] Indeed! How do you know? I have reared you as my 
child, but you are not. You are a stain upon the family whose name you bear! 
Carlos knows this now, and he would cut off his right hand before he would 
disgrace his noble name by giving that hand or name to a thing like you! 

ISA. You have lied. But I will use your own weapons against you. I shall 
tell Count Pedro Martinez this story, and he will refuse the child of your 
husband's slave! 

INEZ. [Fiercely] Do it if you dare! I will declare you insane. I will send 
you to a private madhouse. Do not think to trifle with me! You cannot escape 
from this room. Aguila cannot help you. I will put him beyond reach of you! 
You have no alternative, you must yield! 

ISA. Never! I can die! 

INEZ. Fool! You are a feather in my hands! There is no foe this side of 
death to match a woman who wars for love and hate at once! Kill yourself 
if you will! You only serve my purpose. [Going RjJE.] Beat your wings 
against your cage if you will, you cannot escape. [Exit door RjJE., laughing. 
Music, tremolo, till Aguila enters] 

ISA. [Throwing of restraint] The child of a slave! A thing of infamy! A 
living shame! And he believes it! He loathes, despises me! My last hope 
gone, a helpless captive, branded with infamy, Carlos lost to me forever. My 
only choice that hated marriage or a madhouse! No! There is always one hope 
left to despair. Death! [Prays R.C.] Santa Madre! Forgive me, if I do wrong! 
I, who have no mother! Better death than dishonor, and a marriage unsanc- 
tified by love is nothing less! Think how I am goaded to despair! Thou, who 
knowest all suffering, forgive my sin and take me to thyself! [Sobbing. Goes 
to toilet-table up L. on which is cushion with bodtyn for hair] Oh, for some 
means! [Sees bodtyn] The desperate wretch is never without a weapon against 



A ROYAL SLAVE 33 

himself! This bodkin! One quick thrust will reach my heart [Aguila springs 
from panel, seizes her wrist. Chord, fortissimo, as Aguila enters] 

Ac. Child! What would you do? 

ISA. [Falls in his arms] Aguila! 

Ac. Yes! Why don't you trust me? I have sworn to guard you as my soul! 

ISA. Oh, but Papa Aguila! She has told me all! Has told Carlos, and he 
hates and despises me now! 

Ac. All! All what? 

ISA. That I am not her child! 

Ac. [Astonished] What! That you are not her child? How did she know 
that! I thought I alone knew the secret. 

ISA. That I am a thing of shame! The child of her husband's slave! 

Ac. [Fiercely] It is a lie! 

ISA. [Eagerly] Oh! Is it, Aguila? Is it a lie? 

Ac. Yes, my child! She herself does not know you are not her own child, 
but I do! 

ISA. Tell me, Papa Aguila! What do your words mean? Who am I then? 

Ac. Not now, my child! In time, you shall know all. Tis enough to know 
now that you are her equal. Your blood as pure as hers! Fear not Carlos' faith! 
He loves you too well to doubt, or give you up for a lie from lips that he 
knows are false as Hell! 

ISA. Go to him, Aguila! He will believe you. Tell him I am not the thing 
she would make me! And if she tries to force me to marry Count Pedro, I 
will kill myself rather than be untrue to my love! 

Ac. Listen, child! You need not die. You see that secret door? No one 
but me knows of its existence. It was built by your by Sefior Juan Alvarez, 
the former owner, as a hiding place for his vast treasures. I discovered it three 
years ago. There is a secret passage leading to the room below. There is a 
spring of water there, lamps and oil enough to last for weeks, and food and 
bed for you, my little one! 

ISA. Oh, good Aguik! You have saved me! 

AG. I foresaw the coming storm, and knowing you might need a refuge, 
I hastened here before the countess, and stocked it with all things needful 
for your comfort. Now hear me, child! Only use it as a last resort. Not a 
word to anyone of it or what it holds. Trust old Aguila, lie will not fail you! 
Now promise me one thing, little sefiorita that you will not attempt to 
destroy yourself again! 

ISA. But should she succeed in forcing me iato this union with Count 
Pedro 



34 CLARENCE BENNETT 

AG. [Interrupting her] Have you not a safe retreat? Even should they 
seize you, aye, though the priest had said the words that made you his wife, 
I will save you at the eleventh hour. Believe and trust me, mea alma! Has 
Aguila's word ever failed you yet? 

ISA. But suppose she should, as she has threatened, imprison you. How 
could you save me then ? 

Ac. Our good padre thought of that, and gave me this phial. 'Tis an acid 
that can eat away all bolts and chains. She may cage my little dove, but not 
the eagle! 

ISA. She has some dreadful plan against you, Aguila. 

Ac. I know it. I was skulking amid the flowers in the garden, when I 
heard her bid that yellow wolf, Manuel, to stab me while I slept. 

ISA. [Appalled] Oh, horrible! 

AG. [Fiercely] Let her beware how she opens the gates of the hurricane, 
lest the tempest crush her! Fear not, Mariposa! That slimy snake will never 
crawl into the eagle's nest! I'll give his carcass to the kites before tomorrow! 
But do as I bid you, and we are safe. But as you love Carlos and trust me, 
never raise your hand against yourself again! Promise me, promise! 

ISA. [Kissing him] I promise, Aguila. I will do as you bid me to the last! 
I will trust you always! [Hurry, pianissimo, to suit action till curtain] 

Ac. [Clasping her to his heart} Bless you, my darling child! [Loo^s 
through window\ Ah! What is that? The assassin who tried to kill Carlos? 
El Capi tan's servant! [Closing shutters] The secret panel! The lion's mouth 
the spring! In! In! 

ISA. [Terrified] Who can shelter us now? 

AG. [Bacf( against shutters] The wings of the eagle! [Battering against 
shutters} In, I say, in! [Isadora enters panel and closes it after her. Shutters 
are struc^ f Aguila staggers; shutters burst in, Aguila jails down stage. El 
Capitan and robbers enter, masked. At window. Aguila staggers to his feet 
and strides El Capitan in breast, felling him. Bernal and robber seize him 
from behind and force him to his f^nee] 

BERN. [Raises machete] Strike him! 

EL CAP. [Stopping him] Hold, you fool! He knows the secret of the hid- 
den treasure! He shall tell us where it is or I will flay the red dog alive! 
Where is the girl? Speak! 

AG. [Laughs defiantly] Go! Seek her! Within the convent's walls! Safe 
from your grasp, you robber! 

EL CAP. Away with him to the cave! 

Ac. [Throws off robbers] Do your worst! Ha! Hal I defy you! 

PICTURE 



A ROYAL SLAVE 35 

ACT IV. 



SCENE i : Eight bars pathetic. Cave scene in 2. Can be braced to run o 
of /. so that R. and L. may be left clear for sea-cloth. Tropic island set bac^ of 
scene before curtain goes up. Phittippe dozing on bench RaE. Set door 
R^JE. Wing boxed L^JS. 

JUAN. [Chained L.2., talking to himself] They'll not find it there! 
Ha, ha, ha! Oh, how my head pains me! He struck me here. I can't remem- 
ber since then. No, no! I forget where I hid it! Did they kill Aguila? I saw 
him cut El Capitan here! Ha! Ha! It was no child's blow! Yes, yes! Where 
is my child, my baby Isabella? Mercedes! Wife! Where is our litde sunshine? 

PHIL. Shut up, ye old fool! I want to sleep! 

JUAN, I won't! 

PHIL. [Starts up. Crosses L.] What! Ye won't? Take that! [Kic\s him] 
And that! [Same business] 

JUAN. You may kill me if you want to. I will not tell. I cannot! I have 
forgotten! 

PHIL. Silence, ye chattering old monkey! [Crossing R.] He's thinking of 
his buried treasure. There's where the Capitan's temper cost him something. 
When the fool wouldn't tell where it was hid, the Capitan hit him on the 
head, and he went crazy. Now he can't tell! El Capitan might have starved 
the truth out of him. But now his only hope is that he may get his wits some 
day and tell where it is. Damn the money anyway! Give me aguardiente and 
I am happy. [Drinks] Ah, that's the stuff! Drink fit for a saint! [KnocJ^ he 
listens] What's that? El Capitan and the rest back so soon? [Voices without] 
Who's there? 

BERN. [ Without. Music, hurry, till all on] The wolfs litter! 

PHIL. [Unbolting door] Back so early? [Enter robbers with Aguila bound 
and blindfolded. They ta%e off the hoodwin\. Throw him C. at bacJ(\ 

EL CAP. Yes, but without the girl. [Aguila laughs] But we have you, you 
dog of an Indian! He shall be of some services to us. He can tell us what 
that crazed fool has forgotten. And by Satan he shall, or I'll have him 
skinned alive at sunrise! 

Ac. You can tear the flesh from my old bones, but you cannot tear the 
secret from my heart! 

EL CAP. We shall see! Listen, Aguila! I will spare your young mistress 
and let you and that crazy old idiot go free, if you tell the truth. Refuse, and 
I will torture the secret out of you or kill you! 



36 CLARENCE BENNETT 

JUAN. Aguila? Who said Aguila? You are not Aguila! No! He killed 
you in the pass. You are Aguila's ghost. How came you here among devils? 
This is not your place. 

AG. What! Sefior Juan, my old master, alive? Thank Heaven! 

EL CAP. Yes, and you can save him and yourself by telling where the 
treasure is hid. Refuse, and he shall be tortured with you! 

Ac. [Aside] I dare not tell him, not even to save Master Juan, for it 
would betray her hiding place! 

EL CAP, Answer me, you old fool! 

Ac. I don't know! 

EL CAP. [Music, hurry, till Aguila chained} You lie, you dog! Men! Chain 
him to the wall! [They chain him, ring bolt C. at bac%. Phillip fc locf^s chain, 
\eys in belt] 

JUAN. I'll tell you! It is hidden behind the fourth stone. [Pauses] 

AG. [Aside] Saints of Heaven! If he remembers, she is lost! 

JUAN. The fourth stone the fourth toward the sea. It is in the sea! I 
know! No, I have forgotten all! All! I cannot tell! 

Ac. [Aside] Thank Heaven! 

BERN. [Threatening Aguila] You stole my knife in the garden. You struck 
me. I always pay my debts. [Strifes him in face] Take that! [Chord I] 

Ac. Coward! If my hands were free you would no more dare do that 
than you would dare knock at the gates of Hell! 

BERN. [Laughs] You said, when we met, you'd make a buzzard's feast 
of me! Do it! I'll make a handsome saddle of your hide, tomorrow! [Seizing 
Aguila by the throat] Ha! Ha! I'd like to throttle you! 

AG. Would you? Why don't you do it, then? You need not be afraid, I'm 
chained. 

EL CAP. Never mind him, "Alacran," he can wait till morning. Come here, 
I have work for you. Go back to the casa of Sefiora de Oro, watch for the 
senorita. I believe that old knave lies. She must be there! If you see her, seize 
her and bring her to me at the island. I will be there by evening. 

BERN. [Points to Aguila} What about him? 

EL CAP. He will keep till we get back. 

JUAN. Aguila, call Mercedes and bring little Isabella. It is time to go. 

PHIL. [Springs at him with whip} Shut up, you old parrot! [Cuts him 
twice. Chords at whip cuts} 

AG. [Tugging at chains} If I were but free of these cursed irons, Fd make 
a stairway of your bloody corpses! 

PHIL. X)h! You want your share, eh? Take it, then! [Cuts him. Chords at 
whip cuts] 



A ROYAL SLAVE 37 

JUAN. [To himself, gloatingly} Oh, If he would only fall asleep within 
reach of my chain! He'll do it sometime then Ha, ha, ha! 

PHIL. What! Ye want more? [Cuts him again. Drops \eys on blanket. 
Juan sees them and covers them with corner of blanket. Gets them later} 

EL CAP. Here, matador! You make more noise than he does! Be quiet! 

PHIL. [Crossing R.} All right, Senor Capitan. 

EL CAP. [ To Bernal] If you capture her, take her to the island, as I told 
you. There are two black rocks on the north side, and a narrow, deep chan- 
nel between them. That is the safest and most hidden landing place. [They 



Ac. [Quickly, aside] Black rocks, narrow channel? He means El Toro! 
Oh, if I were only free! 

EL CAP. Once there, tie her and come off with the boat for me, you hear? 

BERN. Yes, Senor Capitan. But I may need aid to seize her. 

EL CAP. Take Vasquez, Miguel and Sancho with you then. Mind! No 
harm to the girl, or El Alacran and the rest of you shall answer to me! 

BERN. [Crosses R.I.] Have no fear of us, Senor Capitan, you know I am 
always faithful to you. 

EL CAP. [To Aguila} With the girl in my power, I think I can bend your 
stubborn will. 

Ac. [With assumed calmness} You will not find her, senor. She is in the 
convent of Santa Madre, safe from harm. 

EL CAP. [Laughs incredulously} Perhaps. But we shall see. If we do not 
find her at the casa, we will storm the convent. 

JUAN. Give me back the locket! It contains the picture of Mercedes, my 
wife. 

EL CAP. [Striding him } Siknce, you fool ! 

JUAN. [Points to his head} There is where you struck me before. It aches 
yet, and that was a long time ago. 

EL CAP. [Seizing him by the throat} Be quiet, I tell you! \Throws him 
down} 

AG. Have mercy! He is an old man, and mad! 

EL CAP. Mercy? Ha, ha! You talk like a fool! [Turns R.] See here, lads! 
Go to the lower pass. There is a rich prize coming today. An old rich senor 
and his servants. Pluck the pigeons, and, if they are well behaved, let them 
off with whole skins. He is a fat sheep, and we may have a chance to shear 
him again when his new fleece has grown. So don*t kill him this rime, mind! 

ROBBER. All right, Senor Capitan. 

EL CAP. Vasquez you, Miguel and Sancho go with "El Alacran." The 
rest to the Pass! Vicente, Chico and Gonzafes to the lower bridge; Pancho 



3 8 CLARENCE BENNETT 

with the others wait at the gorge above, and follow the game to the bridge, 
to attack them in the rear. I must go first to my hacienda, then to meet you, 
Bernal, at the island. 

BERN. [To two robbers] Come, boys, lets be off! [They exit door RaJE.] 

PHIL. And me, Sefior Capitan, shall I go with the others? 

EL CAP. No, Matador, you stay here to watch your pets and guard the 
cave. Don't get your head so full of aguardiente that you lose your brains. 

PHIL. Trust me, Senor Capitan, I am not such an ass as to put my neck 
in a halter. 

EL CAP. Be careful that you don't. There are soldiers in the neighborhood, 
and your love of liquor will be the death of us all someday, I fear. 

PHIL. I'll not touch another drop today, Sefior Capitan. 

EL CAP. Come, boys, be off now, and good luck to you! Make a quick and 
clean job of it, and don't let the grass grow under your feet when it is done. 
Be careful you are not watched, and if you are, remember "dead men tell 
no tales!" 

ROBBER. All right, Senor Capitan. [They exit door R^E.} 

EL CAP. [Mockingly to Aguila] Adios, friends! I hope soon to bring a 
guest who will unseal your royal lips. 

Ac. Heaven grant you may not! 

EL CAP. Watch close, Matador. 

PHIL. Adios, Senor Capitan. 

EL CAP. And remember, no more liquor. 

PHIL. Not another drop, Sefior Capitan. [Exit El Capitan, door Rz.] 

AG. [Remembers phial] Ah, the good padre's gift! The phial! [Phillippe, 
as he bolts door and sees all safe, sings. During song r Aguila gets phial from 
hair and puts acid on ringbolt. Turns quic\ly as Juan calls Phillippe s at- 
tention] 

PHIL. A woman to love and a bottle of brandy, 

A good game to play and a good song to sing, 
When fat purses travel, a machette handy, 
And I wouldn't change with an abbot or king! 

JUAN. They say swans sing before they die! 

PHIL. Here! I want to sleep. If you make a riot and wake me, I'll fan you 
with this! [Shades whip] I'll have another drink first, and damn the Capitan! 
[Drinks. Throws himself on blanket R^E.} Ill tame the cattle! Fll I'll 
[Sleeps. Aguila bursts chains. They fall from wall with noise. Phillippe 
wakens. When chain breads, hurry music till Phillippe falls] 

PHIL. Eh? Hello! What's this? [Seeing Aguila] What! Broke yer tether, 
eh? [Draws foife] 



A ROYAL SLAVE 39 

AG. [Raises chains over head] Back, I say! Or my path lies across your 
grave! 

PHIL. [Springing at him} Ye will have it, eh? [They fight. Phillip fe 
draws foife. During fight Juan worlds wildly on his chains with %eys] 

JUAN. [Wild and exultant] Kill him, Aguila! Kill him! Ha, ha, ha! Down 
with him! [Aguila gets Phillippe's wrist in his teeth. With a howl of rage he 
drops foife. Juan bursting from his chains, picJ(s it up and stabs him in the 
baci(\ Ha, ha! I knew I'd pay him back! [Gets whip, cuts corpse with it} 
Take that! And that! Ha, ha, ha! He drops his keys and I hid them there, 
in the blanket! [Cuts corpse. Music, hurry, till Jones on] 

Ac. Master Juan, where are the keys? [Knocking at door. Aguila runs to 
door, raising chains as weapon] Who's there? 

JONES. [Without] Open in the name of the law! 

Ac. Senor Jones? 

JONES. Yes, with my American bulldog and the Mexican army! Open this 
rat's nest or we will open it for you! [Aguila draws bolts. Enter Jones jol- 
lowed by soldiers] Aguila ? 

Ac. Yes, senor. 

JONES. A dead man and a maniac. Who is this? 

AG. Senor Jones, that is my old master, Senor Juan Alvarez. [Soldiers 
unlocf^ Aguila f s chains. L.C.] 

JUAN. [Courteously. J?.C.] Your servant, gentlemen! Excuse me! I am 
killing a snake. [Juan throws dead body off] 

AG. [Rapidly] Senor, the password is "The wolfs litter." They will be 
back by night. Take Senor Juan with you. 

JUAN. [Interrupting] No, no! I am free! Free! [Springs bac\ with \nije. 
Tremolo, pianissimo, suit action till curtain] 

AG. [Trying to conciliate him] Master Juan, give me the knife! 

JUAN. No, no! I will nod 

AG. Yes, senor* I am old Aguila, your faithful Aguila. 

JUAN. So you are! [Slowly gives f^nife] Did they kill you? He struck 
me here. See the dent? 

AG. They will take you to your friend, good Padre Domingus, and to 
little Isabella. 

JUAN. Yes, 111 go to Padre Domingus. [Points to Jones} Is he the senor, 
your friend? 

AG. Yes, master, [Puts Juan's hand in Jones'} Take him to the good padre, 
he will cure his head [Soldiers taf$e up body ready for change. Tremolo] 

JONES. But you, Aguila, where are you going ? 



40 CLARENCE BENNETT 

Ac. Send guards to Casa de Oro, and to El Toro after me. I go to save 
the little senorita, or die defending her! [Exit followed by Jones and guards. 
Scene moves down to ist grooves, followed down by sea-cloth, then runs off 
bac\ of ist grooves] 

SCENE 2: Tropic island drop in 5. Padded platform across stage in 5. Shore- 
piece in 4. Cut wood and set tree on platform. Flats obliqued off in 3. to show 
sides of island and sea beyond. Grooves in 2. empty. Concentric turntable de- 
vice jor sharl^ fight. Sea-cloth, scrim. Sand-bar foreground to hold edge of 
sea-cloth in i. Bernal appears L^. in boat with Isadora bound. Lands L.C. at 



BERN. [Lifting her] Come, senorita. Here we are. You must wait here for 
the Capitan. 

ISA. Oh, senor! Have you no mercy? What would you do? By the memory 
of your mother whom you must have loved, I beg you to let me go! 

BERN. [Doggedly] Can't do it I tell you! I must obey orders. 

ISA- Oh, spare me, senor! You are a brave, strong man. You cannot fight 
with women! 

BERN. Come! No more of your whimpering! I shan't harm ye, and if ye 
don't put on airs with the Capitan, ye'll live like a queen. 

ISA. [Appalled} What awful fate is hidden in your words? Oh, senor! In 
mercy, kill me then! Kill me! I will kiss your hands, red with my blood, and 
die blessing you! [Sinfys half fainting] 

BERN. Shut up, I tell ye! I must see all safe around here, and then go 
back for the Capitan. [Going R^fJE.] She's a devilish pretty one. I'd like her 
for myself if it wasn't for stealing her from the Capitan. [Exit R.UJE.] 

ISA. [Bound to tree] I am lost, lost! Is there no hope? Santa Maria! Hear 
and save me! Poor old Papa Aguila! Would they had killed me as they have 
you! How gladly would I lie dead now in your kind, strong arms where I 
slept so often when a child! Come to me, Aguila! Come to me! [Aguila 
appears swimming LaE. Chord segue, hurry till curtain] 

Ac. I am coming! 

ISA.. [Cries joy fully] Aguila! 

AG. Still! Or we are lost! \Shar\ appears C.] 

ISA, See! Aguila! The shark! The shark! 

AG. Hush, I say, or you will ruin us! Fear not for me! 

ISA* [Praying] Santa Madre Maria, save him, my old Papa Aguila! Oh, 
Aguila, thank Heaven! Oh, I dare not look! Ah! There he comes! [Aguila 
stabs shar\ t who turns over and sin\s. He lands] 



A ROYAL SLAVE 41 

Ac. My child! My darling child! [Cuffing her bonds} Thank Heaven I 
am here to save you! 

ISA. Are you hurt? Tell me? 

BERN. [Out RUE.] What riot is this? Has the little fool gone mad? 
[Enters, sees them] What! Free? 

Ac. Yes! [Springs on him before he can draw machete. Fight with 
f(nives. Aguila down. Bites Bernal's wrist, he drops foife. Aguila stabs him t 
turns and stabs him again. Bernal front. Throws him out in water. During 
fight, shares fins show above water. When Bernal strides water, the fin dis- 
appears. Isadora faints in Aguila' s arms] 

Ac. The shark steals the buzzard's feast! 

PICTURE 

ACT V. 

Same as Act HI. Eight bars triumphant. Night backing in 4. Countess seated 
R. by table. Pedro C. 

FED. [Offering hand] So, countess, our feud is ended! We are friends 
once more, eh? You pardon me? 

INEZ. Fully, senor, and more. I ask your pardon. I am very grateful to 
you for using your influence to have her returned to me. 

FED. Not at all, sefbra! I had just received your treaty of peace, this letter, 
when the news of her abduction was brought to me. Of course I was almost 
driven wild. I ordered my horse and was off at a madman's pace to find the 
alcalde. Half way to town, whom should I meet but the alcalde himself, with 
the rescuing party. Among them that infernal Indian and that prying Amer- 
ican. Of course she remonstrated against being returned to your house. 

INEZ. [Sneeringly] I do not doubt itJ She probably threw herself on the 
protection of that red traitor, Aguik, and that quixotic Jones. 

FED. Yes, seriora, and they espoused her cause and tried to hold her, but 
I told the alcalde that, as you were her mother, to deliver her into the custody 
of anyone else would be unlawful and equivalent to abduction. He took my 
view of the matter, and sent-her back to you. 

INEZ. You have worsted our enemies. Now, if we use our time, the day is 
ours. I learned that SeSor Castillo was net dead, and my anger against you 
softened. I wrote you that letter, asking your pardon for my hasty words, and 
requesting an interview. I wished to teE you that if you so desired, we will 
proceed with tliis marriage at once. 

FEB. Senora, it is my dearest wish. 



42 CLARENCE BENNETT 

INEZ. This marriage once accomplished, we are masters of the situation 
and our enemies are completely outgeneralled. 

FED. Yes, senora. Once in my house, as my wife, they will take their lives 
in their hands if they attempt to meddle with my household. 

INEZ. I will bring in your bride. You will doubtless find her cold and 
distant at first, but firmness and kindness will soon teach her how useless it 
is to sigh for a lost lover, and she will soon see that her only chance of happi- 
ness is in courting the favor and esteem of her husband. 

FED. Trust me, senora! I shall manage her when she is once my wife! 

INEZ. [Going R.VE.] Pardon me a moment, senor, and I will bring her 



. 

FED, [Alone] So, I shall accomplish my purpose at last, and all legally! 
She shall be mine, body and soul! No human will has ever yet opposed me 
that I have not crushed! I will not now be balked by a puny girl! As for her 
lover, I can have him removed; we shall see who wins! 

INEZ. [Entering with Isadora. DJR..U.} Senor, here is your promised wife. 
[To Isadora] Child, prepare yourself, at once, to be married to Count Pedro. 

ISA. [C. Aside] Will Aguila keep his word? [Aloud] Senor, I do not love 
you 

INEZ. [R. Aside. Clutching her wrist] Beware! You know me! 

PED. [Smiling] You will learn to in time, senorita. 

ANN. [Entering L.J.] If you please, senora countess, there is a holy father 
out here who fears to go down the Passo at night, and asks permission to wait 
here till morning. 

INEZ. A holy father? [Aside] Most opportune! [Aloud] Bid him come in. 

ANN. [At door L.J.] Enter, father! 

PRIEST. [Entering] Benedicite, my children! Senora countess, pardon my 
intrusion, but I am belated on my way to Puebla. My mule is lame, and the 
night is on me. These passes are infested by El Capitan and his band. I am 
forced to ask your hospitality till daylight, when I can continue my journey 
in safety. 

INEZ. You are most welcome, holy father! This is Count Pedro Martinez 
of Puebla. [Pedro bows] 

PRIEST. Benedicite, my son! 

INEZ. Father, we need your good offices to celebrate the union of this 
gentleman and lady at once. 

ANN. [Aside] I wish I had set the dogs on him! 

ISA. [R. starts up defiantly] I will not marry him! You may kill me if 
you will, I care not! 



A ROYAL SLAVE 43 

PRIEST. [Crossing R.] Calm yourself, my child! [To Inez] Is she your 
daughter, senora ? 

INEZ. [L.C V with Pedro] Yes, father. Though a most wilful and disobe- 
dient one. She is infatuated with a young and worthless adventurer. I have 
selected a worthy, wealthy and honorable husband for her. One who can give 
her position, title and luxury. And you see how the ungrateful child opposes 
my love and care! 

PRIEST. My child, you owe obedience to your mother! You should let her 
wisdom guide your impetuous youth. 

ISA. [Appealingly] But, father, I do not love him! Would you have me 
make a mockery of Heaven's blessings, by letting you bestow it on a loveless 
marriage? 

PRIEST. Have faith, my daughter, that Heaven will send you love. By 
faith the dead have been called back to life. Remember the story of Lazarus; 
though dead, he yet lives. 

ISA. [Surprised. Aside to him] Those words! Who are you? 

PRIEST. [Warning her] Sh! [Smuggles letter to her. R.] 

INEZ. I thank you, father, for your holy counsel to my wayward child. We 
will leave you with her, while I give orders for your entertainment. And I 
trust she may profit by your good advice. Come, count. [Exeunt Pedro and 
Inez DJR.UJE.] 

ANN. [Half hidden in curtains} I don't believe he's a holy father at all, or 
he would not try to marry poor Senorita Isadora to an old monkey that she 
hates! 

ISA. Who are you ? 

PRIEST. Fear not, my child. I know your story. I am the friend of Padre 
Domingus, your friend. Passing his parish the day your mother brought you 
here, he commissioned me to prevent her placing you in a convent here, and 
to be your friend in need, as he would be. But read your letter! 

ISA. [Opens letter and reads} "Trust the Holy Father. He is our friend. 
Let them go on with the wedding. You are surrounded by friends. We will 
be there at the proper time. Carlos." [Kisses letter] Dear, brave Carlos! [An- 
nette comes down from curtains] 

PADRE. [Ta Annetta} You are her friend, are you not? 

ANN. Friend! I would die for her, father! 

PADRE. You are a good girl! The American senor Ah! you blush! You 
love him! Now I know I can trust you. A woman may always be trusted 
Where she loves. 

ANN. Yes, padre! What are SeSor Jones* wishes? 



44 CLARENCE BENNETT 

PADRE. He sends word that you should have the dogs tied on the other 
side of the house, away from that window. Let no one see you do it. You 
understand? 

ANN. Yes, father. [Exits door L.J.] 

PRIEST. There, poor child! Prepare for your wedding, and, at the final 
moment, there shall be a change of bridegrooms! 

ISA. [Clasping his hands] Heaven bless you, father! [Countess and Pedro 



PRIEST. [Signals their presence to Isadora} There! Calm yourself, my 
child; go and dress for your marriage, and leave the result to Heaven. 

ISA. {Seemingly yielding] I will do as you bid me, father! Heaven grant 
it may be for the best! [Exit R.jJE] 

INEZ. I am much indebted to you for the wonderful influence you have 
gained over her, father. 

FED. It seems wonderful that you could so completely have subdued 
her opposition! 

PRIEST, Kind words will lead a child where death could not drive her. I 
have a nephew who can be ruled by no other means. He is kind-hearted, but 
such a wag. I believe he would play his pranks on the saints! Here are some 
candles he gave me as I started. [Unrolling package] I tremble to use any- 
thing from his hands without first testing it, and I mistrust these innocent 
looking candles. [Annetta seen peeping on at door L.j] 

PED. Those candles? Mistrust them? And why? 

PRIEST. [Drily] His candles do not always burn evenly! For fear that these 
are not staid, sober and well behaved, I will, with your permission, light one 
outside of the window. As its capers, if it be frolicsome, will do no harm 
there. 

INEZ. [Laughing] The young rogue! To play tricks on his uricle, thus. 

PRIEST. [Preparing at window] It is a young rascal, but I love him for it, 
after all; I was a boy myself, once. Heaven forgive my wild pranks! [Lights 
rocket candle] Ah! I thought so! The young monkey! Ha! Ha! Ha! [Inez 
and Pedro laughing heartily. Distant pistol shot and whistle. Aside triumph- 
antly] They see it! {Closes window. Isadora enters DJRJJJE. dressed as a 
bride. Music tremolo till Aguila on] 

ISA. Well, father, I am ready. 

PRIEST. [By table L.2., candles on it] Ah, my child! You are a good and 
obedient daughter. {Annetta crosses to R. of window] Give your hand to this 
gentleman. [She obeys. Countess R.C. Pedro CJ?. Isadora CJL. Priest by table 
L. Whistle outside. Priest with bacj^ to others, puts out candles. Lights down* 
Glass crash. Guards, Carlos, Aguila on] How stupid of me! [Lighting candle. 



A ROYAL SLAVE 45 

Lights up. Aguila L.C., Isadora in his arms L. His sword at Pedro's breast. 
Jones getting in window. Chord, fortissimo] 

PEDRO. [Amazed} What does this mean? 

JONES. It means that we are about to reverse the rule, and give away the 
bridegroom! 

INEZ. Senors, leave my house! I am mistress here, and this intrusion is 
most insolent! More! It is a violation of the laws for which you shall answer. 

JONES. Senora, we are here on business of the state, and can't accept your 
pressing invitation to take a walk. We can't tear ourselves away so uncere- 
moniously. 

INEZ. Such insolence! 

JONES. Don't put your fingers in this mess of porridge, or you may burn 
them! [Goes to Annetta] 

PED. Trickster! This is your work! Who are you? 

PADRE. [Throws off disguise] Padre Domingus, who has assumed this dis- 
guise to save this poor persecuted child from the clutches of a robber! 

PED. A robber! What do you mean? 

CARL, It means, Pedro Martinez, you are our prisoner. 

PED. Upon what evidence? 

CARL. Mine, and these gentlemen's. I accuse you of being El Capitan, the 
noted robber chief. This locket, stolen from the body of your victim, Juan 
Alvarez, you lost where you fought with me, by the river. I accuse you of 
robbing him, attempting his life, and of all the countless crimes that have 
made you the scourge of the Republic for so many years. 

PED. [Laughs defiantly] Is this your proof? Ha! Ha! I'll show you how 
worthless it is. I bought that locket, years ago, from a Jew in the city of 
Mexico. It bore so strange a resemblance to the little senorita, whom I loved 
even as a child. You see, senors, your evidence is trash! 

CARL. [Triumphantly] Stay! Not so fast! Here is a witness whose evi- 
dence you cannot so easily gainsay! [Leads Juan on L.E7J}.] 

PED. [Quickly] What testimony do you expect to gain from him? He is 
mad! 

JONES. [Quicftfy] How do you know? 

PED. [Confused] Well, I could see by his eyes that he was not sane. 

PAMRE, He is as sane as you! You struck him on die head, and dented his 
skulL The blow made him insane. I have relieved the pressure on his brain, 
and his reason has returned. So you see, SCBOTS, he had no way of knowing 
but his knowledge of his previous condition. [Pedro attempts to rush out. 
Stopped by guards] 



4> CLARENCE BENNETT 

CARL. Your attempt to fly is almost enough to condemn you! [To Juan] 
Is this man El Capitan? 

JUAN. Yes, senor. 

FED. 'Tis false! This man is mad, I tell you! Even though he fancied he 
saw a resemblance, that proves nothing. Your evidence is worthless! 

AG. But mine shall crush you! 

FED. [Sneeringly] Indeed? Since when has the evidence of a dog of a slave 
been sufficient to crush a man of wealth, rank and noble blood? 

Ac. Noble! In years gone by, in this fair land, my fathers ruled. Their 
gentle sway lay like a happy maid, that, smiling, slept upon a bed of roses, 
her fair hands clasped by either sea! The stranger came, a man like you; a 
robber and a murderer, who wore the cross of God above a heart where coiled 
things of Hell! You are the whelp of that robber! I am the child of a King! 

FED. Well, wretch! What can you tell? 

AG. Fourteen years ago, senors, I gave El Capitan a slash with my machete, 
across the left shoulder. Let us see if the noble Count Pedro bears the mark 
of Cain! [Springs on him. Pedro draws fatfe. Aguila tears it from him and 
forces him to foeel. Tears open shirt and exposes scar] Behold! [Throws 
Pedro up C. into arms of guards} Bind him, senors, and away with him. 

FED. [Struggling with guards, as they tafe him L.U.E.] Curse ye all! 
YouVe trapped the lion, see that you hold him! If I break my meshes, beware! 

JONES. We've clipped your claws! Your band are all killed or captured to 
the last man. We've got the whole business. Don Pedro, Sancho, High Low 
Jack and the game! [Throwing him to soldiers] Gentlemen of the Guard, 
guard the gentleman. [Exit soldiers with Pedro] 

INEZ. Senors, now that you have disgraced my house with this scene, I 
trust you will relieve us of your presence! [To Isadora] Come here, my child! 

Ac. She is not your child! 

ALL. Not her child ? 

'Ac. No! Your child died in its cradle the day you turned your sister Mer- 
cedes starving from your door. I told her of its death, and she begged me to 
save her baby's life by putting it in the dead one's place. You have reared your 
sister's daughter! 

INEZ. [Furious] This is a lie! A wicked lie! 

PADRE. No. It is Heaven's truth! Your sister told me the story as she was 
dying. How you loved Juan and hated her that she had won his heart. And 
of the deception practised on you. But I never knew that Aguila was her 
assistant. [To Isadora] My child, you are not Isadora de Oro, but Isabella 
Alvarez, and this gentleman is your father! 

JUAN. [Clasps her] My child! 



A ROYAL SLAVE 47 

ISA. Father, Carlos, my dear old Aguila I have you all, all! [Tremolo, 
pathetic, pianissimo, till curtain] 

INEZ. [With wild laugh} Yes, all! All! Ha, ha, ha! And I have lost all! 
Carlos, you were all to me, as he once was! And I have lost you! I sinned to 
gain you, Ha, ha, ha! Fool that I was! Fool! Fool! [Buries face in her hands] 

CARL. [L*C] Merciful Heavens, she is mad! 

INEZ. [C. Starting up] Mad! Am I mad? Oh, tell me, Carlos! You hate 
me now, but you will forgive me when I'm dead. Yes, and kiss me just once! 
Just once. I loved you so! Just once that I may know that you forgive me. 
Good-night, Carlos! Ha, ha, ha! [Snatches bodkin from her hair. Stabs her- 
self. All spring forward to prevent her. She waves them bac%] Stand back, 
seriors! [Hands on breast] See the roses beautiful red roses! They are your 
gifts, Carlos! See how the petals fall off! No, it is blood! My blood! [Staggers. 
Aguila supports her] Aguila, don't let Carlos forget to kiss me when I'm 
dead. [Gasps] Carlos! Carl [Dies in Aguila f s arms] 

AG. Poor Inez! Heaven forgive and pity thee! [Padre, Inez and Aguila C. 
Juan and Isabella L.j 

PICTURE 

CURTAIN 



THE GREAT DIAMOND ROBBERY 
By Colonel Edward M. Alfriend and A. C. Wheeler 



CHARACTERS 

DICK BRUMMAGE 

FRANK KENNET 

MR. CLINTON BULFORD 

GRANDFATHER LAVELOT 

MARIO MARINO 

DR. LIVINGSTONE 

SENATOR McSoRKER 

THE COUNT GARBIADOFF 

SHEENEY IKE 

JIMMY McCuNE 

PHILIP 

JACK CLANCY 

MICKEY BRANNIGAN 

POLICEMAN 

MRS. MARY BULFORD 

MARY LAVELOT 

MOTHER ROSENBAUM (FRAU) 

MRS. O'GEOGAN 

PEGGY DALY 

MME. MERVAINE 

INCIDENTALS: HEELERS, CLUBMAN, SALVATION ARMY LASS, MESSENGER BOY, BAR- 
KEEPERS, WAITERS, STREET GAMIN, BLIND MUSICIAN, GUESTS. 

"The Great 'Diamond Robbery" being fully protected under the copyright laws of the United 
States of America, the British Empire, including the Dominion of Canada, and all other countries 
of the Copyright Union, is nt&j&z to a royalty. All rights, including professional, amateur, motion 
pictures, recitation, public reading, radio broadcasting, and the rights of translation into foreign 
languages, are strictly reserved. Anyone presenting the play without the consent of the owners or 
their authorized agents will be liable to the penalties by law provided. Do not ma\e any arrange- 
ments for the presentation of this play without first securing permission and terms in writing 
from Samuel French, at 25 West 4 $th Street, New Yor* City, or at Su West yth Street, Los An- 
geles, California; or if in Canada, from Samuel French (Canada), Ltd., 480 University Avenue, 
Toronto. 



ACT I. 

SCENE: Small cosy brealtfast or supper room in Mr. Bulford' s house on Lexing- 
ton Avenue in New Yorl^ set in 2. It is tastefully furnished with grate fire 
burning, and an easy chair and table in front of -it. Room lit by gas or lamps, 
but not glaringly. There is a sofa R. with buffet in corner C. // is furnished 
with glass, silver, decanters, etc. There is an entrance RaE., another L. in 
bac\ flat. Bitter storm outside howling of wind heard with banging of 
shutter. See fire lighted and red medium for rise. TIME: Nine o'cloc\ at night, 
late winter or early spring. DISCOVERED: Mrs. Bulford at half open door L. in 
flat. She is listening intently at door and is nervous. At the expiration of half 
a minute, she goes to a little table and strides bell. Crosses R.C. and to R., 
then listens. Enter Philip L. 

MRS. B. Philip, that shutter in the parlor is banging. 

PHIL. [L.C.] Yes'm. [Is about to go] 

MRS. B. Where is my brother, Marino. 

PHIL. In his room, ma'am. 1 smelt his cigar in the hall. 

MRS. B. Tell him to come here. 

PHIL. Yes'm. [Is about to go] 

MRS. B. What have you in your hand? 

PHTJL. It's a letter, ma'am. It came by messenger a few minutes ago. It's for 
Mr. Bulford. I couldn't give it to Kim because he's got parties in the reception 
room* [Puts letter on table'] 

MRS.B. Did you see the people in the reception room? 

PHIL. Yes'm. I let 'em in. 

MRS.B. What did they look Eke? 

PHIL. Like foreigners! [Mrs. Bulford starts] 

MRS. B, Did they bring anything? 

PHIL. Yes'm. One of them had a hand bag. 

MRS. B. Go and fasten that shutter and tell my brother to come here. 

PHIL. Yes'm. [Exit leaving door ajar. Mrs. Bulford stands a minute in per- 
plexed attitude looting at letter, then places it on table and going to bufet, 
taJ(es a drinJ^ of wgter and composes her face in the glass. Enter Marino, 
L~ f with boo^ in hand] 

MAR. Hello, dear! 

MRS. B. Are you going to the club tonight? [Crosses to L.] 



52 EDWARD M. ALFRIEND AND A. C. WHEELER 

MAR. [Yawning] Heaven forbid! It is almost as dull there as it is here. I 
was reading Daudet and smoking. 

MRS. B. [Shutting the door} Did you see the men who are with Mr. Bui- 
ford in the reception room? 

MAR. See them ? No, I didn't know there were men there. [ Crosses to sofa] 

MRS.B. [Relieved] I was going to ask you to go out in the storm and 
execute a commission for me. You will object, of course? 

MAR. [Sitting on sofa R.] Santa Maria, my charming sister, why do you 
insist on making me uncomfortable ? 

MRS. B. [Petulantly] You would be comfortable on the edge of Hades. As 
for me I wish we were in Rio tonight. Think of it! They are celebrating the 
feast of St. Catherine with flowers. [Lights cigarette at buffet C v then crosses 
to fire LJ\ 

MAR. Aye and the streets are filled with black eyed senoritas, who have 
tropical faces all the year around. I detest this northern climate. But you, who 
have spent a winter in St. Petersburg, ought to be comfortable in New York. 

MRS. B. [Facing him ] 1 should be more comfortable in New York if I had 
never been to St Petersburg. I made the mistake of my life there. 

MAR. I only know of one. 

MRS.B. What's that? 

MAR. You got married. [Rises, crosses to C. up to buffet] Most adorable of 
sisters, you did not send for me to tell me this. 

MRS.B. [Sits by fire] Why not? I have been telling it to you for months. 
You think because I wear a calm face I am comfortable. My heart is like a 
volcano covered with snow, but wearing a core of fire! I can play at respect- 
ability, but the play must not be too long or too tedious. 

MAR. Well, if I were going to play the respectable thing, I'd get rid of that 
senator you keep hanging about. It makes me feel sorry for your generous old 
husband 

MRS. B. Senator McSorker is the most powerful and influential politician 
in New York. 

MAR. [R. of table, L.] And one of the most disreputable, I fancy. 

MRS. B. Nobody is disreputable in New York, unless they are unsuccessful. 

MAR. Oh, but he dresses so damnably and smokes such rank cigars. 

MRS. B. [Seated at fire L.] Bah you are a child. I shall never make a man 
of you. In Europe we have to fight brains, finesse and diplomacy to get on. 
[Rises, crosses to L.C.] Here the canaille are the supreme rulers and we 
ought to be princes among them. Instead of going to St. Petersburg and 
marrying a respectable old gentleman because he was attached to the Ameri- 
can Legation there, and who keeps you in cigarettes and pays your club bills 



THE GREAT DIAMOND ROBBERY 53 

to please me, we should have come direct to New York; for here every politi- 
cian is a gold mine and every clever woman can defy the law. [ Crosses C. at 
bacf^ of sofa] 

MAR, By Heavens, if you were single, I believe you would marry that 
senator. 

MRS. B. No. But I should like to have the chance for six months to make 
him think I would. [Leans over bac\ of sofa] 

MAR. Well, you have been scheming for six months. I hope you will not 
do anything to disturb our respectability and comfort. For my part, I rather 
like this sort of thing. [Wind. Enter Mr. Bui ford door L., evening paper 
sticking out of his pocket jewel-case under his arm; loo\s at the pair on the 
sofa, shivers and places jewel-case on the table} 

MR. B. Boo-oo. I am chilled through. That reception room is like a vault. 
[ Wind] Listen to that wind! Now, this is cosy. [ Warms his hands at grate 
fircL.] 

MRS. B. Your visitors must have had business of great importance to bring 
them out on such a night. 

MR.B. Importance? Yes, I should say it was. It's the most extraordinary 
thing I ever heard of. 

MAR. [Seated on sofa; eagerly] Why, what is it pray? 

MR. B. \Bac\ to fire] Do you remember the robbery of the Garbiadoff 
diamonds in Europe? It took place just before we left there, a year and a 
half ago. It was all in the papers, but I did not pay much attention to it, al- 
though I knew Garbiadoff well. We are friends in fact. 

MAR. I remember it very well. They were stolen in Cracow by 

MR.B. [Stands bac\ to fire L,] By the cleverest thief in Europe. They 
were said to be worth fifty thousand pounds. [Mrs. Bulford C. t standing] 

MAR. Fifty thousand pounds? 

MR. B. The thief, who is known as Don Plon, has operated in both hemi- 
spheres. He was in this country once, I understand, but incurred the deadly 
enmity of a powerful criminal who is a woman, fee he betrayed her son to 
the authorities, and she swore to be revenged. He accomplished this robbery 
in Cracow by introducing a handsome woman in tie count's house, and 
while the count was carrying on an amour, the diamonds disappeared with 
the woman- After chasing the jewels through Europe, the Russian police got 
upon their track in this city and succeeded in negotiating with some of the 
conspirators and getting the jewels back, but so afraid were those agents of 
Don Plon or this woman that they came to me tonight with the property aiid 
wanted me to go to the bank with them and have the jewels deposited. There 
they are in that case. 



54 EDWARD M. ALFRIEND AND A. C. WHEELER 

MAR. [Going to table] Why, this beats Daudet! Fifty thousand pounds! 
[Sits at head of table L.J 

MR. B* I told them I wouldn't go out tonight for all the jewels in the Rus- 
sian Empire, but they assured me that it was in their interest that they should 
get them out of their hands into the safe keeping of a responsible party. [Mrs. 
Buljord crosses and leans on bacf( of sofa R.] 

MAR. [Seated at head of table L., looking at the case] But do you really 
mean to say they are worth fifty thousand pounds! 

MR. B. [Sitting L. of table by fire] Yesrthat is the estimate put upon 
them by England. There is said to be a ruby in that case worth five thousand 
pounds. It was known along the upper Ganges as the "heart of fire." 

MAR. [Rises] You are assuming a great risk by accepting the property in 
this way. 

MR. B. The men appeared to think they were lessening the risk by getting 
the property into my hands. 

MRS.B. And none know they are here, but those men? 

MAR. [Turning to Mrs. Bui ford] Don't you wish to see them, Maria? 

MRS. B. [On sofa R.] No. It has given me quite a sensation. I can fancy 
the mysterious Don Plon hanging about our house tonight when we are 
asleep, and, if they should disappear 

MR.B. [Seated L. of table, interrupting] Oh, nonsense! Don't say any- 
thing to the servants and I'll be responsible for them until morning. I've the 
count's order and I will see the jewels deposited carefully. 

MAR. [Seated at head of table, taking up case] Can't we see them? 

MR. B. [Seated by fire] No. It is sealed. You see, there is some difficulty in 
identifying the diamonds, owing to the absence of the count. Nobody but 
Don Plon or that woman of his could identify them and it would be a very 
easy matter to change them. [Marino returns to the lounge thoughtfully, 
stands at bac\ of it. Mr. Bulford turns around in his chair again. Enter ser- 
vant L., hands card to Mr. Bulford, then stands by door L., L. of it] 

MR.B. [Looking at card] Kennet Kennet Frank Kennet? What does 
he want to see me for? It's no use. 

MRS.B. Who is Frank Kennet? 

MR. B. It's a young man I put in the bank six months ago. He's got into 
some kind of trouble with his accounts. I feel sorry for him but it's no use 
running after me here. 

MRS. B. [Music for Kennet's entrance until well on] Oh, you had better 
see him. Perhaps he wishes to confess. 

MAR. Ill be in the way, please excuse me, I'll go back to Daudet. [Exit, 



THE GREAT DIAMOND ROBBERY 55 

MR. B. Well, I am not going into that cold reception room again. Tell him 
to come here. [Servant bows and exits} 

MRS.B. [Rises] Perhaps I had better retire. [Crosses a little to C.] 

MR. B. [Rises] Nonsense sit still. Confound it why can't young men go 
straight. 

MRS. B. [R.C.] What is the trouble ? 

MR. B. There's something crooked. I've got to lay it before the directors. 
A case of bad habits and worse companions, I suppose. [Enter servant L., 
stands R. of door L., showing in Fran^ Kennet who wears a great coat with 
collar turned up and carries a soft hat in his hand. Servant exits L* Ken- 
net stops at entrance, disturbed that Mr. Bulford is not alone] 

FRANK. [Up C] I expected to see you alone, sir. [Mr. Bulford doubles his 
newspaper and places it carefully over jewel-case on table] 

MR. B. If you come into my family this way, sir, you must expect to see 
some of the members of it. [Points to Mrs. Bulford] Whatever you have to 
say you can say it here [Mrs. Bulford goes to window f loo^s through] but 
make it short, [Sits L. of table] 

FRANK. [Goes slowly down to Mr. Bulford] I came to appeal to you, sir, 
not to make public the charges against me until they are investigated. I am 
innocent 

MR.B. [Seated L. of table] Hum-ph! I hope so, but the business of the 
bank must be carried on regularly. I must report the matter to the directors 
tomorrow. 

FRANK. [L.C.] Tomorrow? A day or two cannot injure the bank, but it 
may give me time to vindicate myself. There are others who will suffer 
from haste. 

MR. B. Ah, there are others of course your associates. 

FRANK. [L.C.] No sir I have no associates. 

MR. B. Come come this is idle talk. What do you mean? 

FRANK. [L.C.] I am engaged to be married. I thought that perhaps that 
fact would incline you to listen to me kindly. 

MR. B. Oh, there's woman at the bottom of it, is there? I thought as 
much. 

FRANK. Pardon me, sir, you are going too far. Some women cannot stand 
even the rumor of dishonesty and Mary Lavelot is that kind of a woman. 

MR. B. [Impatiently] Well, this is all vary fine, but as a bank officer, I've 
got to stick to the accounts. I am responsible to the stockholders. 

FRANK. [R. of table JL above it] I did not come here as a culprit, sir. I only 
ask you to satisfy yourself of the injustice of these charges before making 
them public. Once that bank sets in to prosecute me, I have no means to fight 



56 EDWARD M. ALFRIEND AND A. C. WHEELER 

it and no friends. I am not thinking of myself as much as others. [Mrs. Bui- 
ford is listening from window, R.] 

MR. B. If you are innocent, you need not fear an official examination in 
fact, there is no other way whether you are innocent or not. 

FRANK. [At head of table L.] But sir, what if some of the directors, in 
order to save the real culprit, should desire to make me appear guilty ? 

MR.B, [Rising] What's that? What's that? You have a warm temper 
young man. It is sheer folly to accuse me of unkindness. I have done a great 
deal for you. 

FRANK. It is that which hurts me, for you are undoing it all now. 

MRS. B. What's the matter? Is he faint? Let me offer him a glass of wine? 
[She turns to buffet C., bac\ to audience and fours glass of wine] We can 
afford to be generous as well as just on such a night. 

MR. B. Nobody ever accused me of being either ungenerous or unjust. 

FRANK. But you intend to take this action tomorrow? 

MR. B. Young man, I shall do my duty tomorrow, if I live, as I have al- 
ways done. [Mrs. Bulford hands Franf^ the glass of wine, R. of him ] But you 
needn't go away with any hard feelings to me. Maria, you can give me a glass 
of sherry. [Mrs. Bulford comes to table with glass of wine in a cut sherry glass, 
gives wine to Mr. Bulford, loofe at them a moment and goes to window R.] 
Drink that young man it will warm you. [Fran\ and Bulford drin}(\ Let 
us hope matters will not be as bad as they look. [Franf^ drinks the wine f 
places glass on table, stares at Mr. Bulford a moment, goes to door L. where 
he stands irresolute] Good night! [Goes and sits L. by fire. Fran^ attempts to 
speaJ^, breads down and exits. Mr. Bulford sighs, ta\es newspaper from 
table L. and resettles himself in his chair. Fifteen seconds elapse. Mrs. Bulford 
tries to appear unconcerned. Business ad lib] 

MRS. B. [Coming from window R., crosses to table L.] Oh, there is a letter 
for you did you get it? 

MR.B. No, Where is it? 

MRS. B. [ R. of table at head of it] Philip placed it here on the table. Here 
it is. [Gives envelope. Mr. Bulford tears it open and ta^es out enclosed foreign 
letter] 

MR. B. Why, this is a foreign letter sent to the care of the Russian Consul 
here, and by him delivered to me. It must have come by messenger. [Opens 
letter and looJ^s at signature} It is from Count Garbiadoff himself. 

MRS. B. [R. of table eagerly] Garbiadoff! [Goes bac\ a step or two} 

MR. B. [Seated next to fire] Yes. There is his signature -Garbiadoff. It 
doesn't look like the signature on the order. What did I do with that order? 
[Feels in his pockets] 



THE GREAT DIAMOND ROBBERY 57 

MRS. B. [Eagerly] Never mind about the signature. Read the letter. 

MR. B. [Looting at the two names] Yes, the letter must be genuine. There 
is the count's coat of arms in the corner. I remember it very well and there's 
the Imperial postmark on the envelope. Do you see Maria, do you see? 

MRS. B. [R. of table f agitatedly] Certainly it must be genuine. Why do you 
not read it? 

MR- B. [Seated L. of table, L.] But if the letter is genuine, the order can- 
not be. It must be a forgery! Why should any one forge an order to get the 
jewels into my hands? There is something wrong here. 

MRS. B. Let me read the letter for you. 

MR. B. [Holding letter of en and reading] No! No! I will read it myself! 
"Dear Sir: 

"Recalling our pleasant acquaintance while you were in St. Petersburg, I 
venture to address you. If in this communication I give you pain you must 
not blame me necessity compels me to write as I do. You will remember 
that for a few weeks prior to your departure from Russia I was absent from 
home. I returned to find that you had married, resigned your position as At- 
tache of the American Legation and departed for America. Curious to find 
whom my good friend had honored with his name, I made inquiries at the 
Embassy and elsewhere, but beyond the fact that you had married somewhat 
suddenly, a woman supposed to be French, I could learn nothing. In point of 
fact your old companions seemed somewhat reticent and so disinclined to 
impart any information upon the matter that I dropped it entirely. More than 
a year has passed, and today it has been brought back to me by an occurrence 
at once remarkable and painful. You know all about the theft of my dia- 
monds, how I was tricked out of them by the wiles of a woman, at the time 
the mistress of that supreme scoundrel calling himself Don Plon. Happily for 
the world this villain never lived to enjoy his plunder, for he died in Paris 
eight months ago. I have employed the best detectives to find my property, 
and while I have been unable to recover it, so closely have I been on its track 
that a sale of the diamonds by the thieves in any of the markets of Europe has 
been made impossible. Today, however, a woman formerly a servant of Don 
Plon's mistress, was arrested by the Russian police on some petty charge, and 
sent for me in prison, saying if I would procure her release, she would give 
me information that might aid in the search for my lost property. The in- 
formation she gave me was startling even tragic. It was that the diamonds 
had been recently sent to America and that the wretch who had tricked me, 
Don Plon's partner in the theft, was w My God! "Marie Marino, the same 
woman who had married my American friend Bedford." [Bui ford starting up 
in great agitation stop music] Is this the truth? Speak, or I shall kill you 



58 EDWARD M. ALFRIEND AND A. C. WHEELER 

where you stand. You do not answer. You cannot. Ah, I see it all now. The 
men who brought those diamonds here tonight were not the police but your 
tools! The order was a forgery and you are you are Plon's woman! [Mrs. 
Bulford stares at him for a moment or two, goes to buffet, puts poison in glass 
then pours in wine, with bac{ to audience, turns, brings glass to Bulford, be- 
hind him on his R., pours it down his throat] 

MRS.B, Take this, my dear it will revive you. [He drinks] Oh! [Steps a 
step bac\ with loo\ of triumph then loo\s frightened] 

MR.B. Oh! My God, my God, the shame of it! The shame of it! It will 
kill me! It will kill me! Oh Oh! [Palls, struggles in chair, dies. Mrs. Bui- 
ford stands a moment horrified, then goes around to front of chair, presses his 
head bac}^ with her hand. It falls on his breast. She goes to his R. at bac\ ta\es 
the letter out of his hand, puts it in her bosom. Taps bell on table. Enter Ma- 
rino L.] 

MAR. What's the matter? 

MRS.B. Quick, a doctor! He is dying! He says the young man who was 
here poisoned him, but I think it is apoplexy. [Imperatively stamping her 
foot] Why do you stand ? Go! Go! [Music till curtain is well down. Wind and 
rain outside. Exit Marino hurriedly L. Mrs. Bulford watches him off, 
clasps her head in her hands for a moment as if bewildered and listens. Then 
staggers and facing audience goes to table and gets sherry glass quickly seizes 
it with left hand and with the right grasps jewel-case through the paper 
staring wildly into space. Quic\ curtain] 

ACT II. 

SCENE: Old Lavelot's house and shop in Houston Street. Three days later. An 
old-fashioned apartment littered with old clothes and personal effects on pegs 
and tables. Stove rear, window L. and curtains showing street. Children's 
shouts. Doors L. in bac\ flat, Rj. and R.$. TIME: Morning. DISCOVERED: Old 
Lavelot sitting at stove doubled up, with po\er in his hand. Dr. Livingstone 
and Mrs. O'Geogan down front C. 

DR.L. Fll give you a powder to put in his tea at night to keep him quiet. 

MRS. O'G. Tay, is it? If I put tay in the medicine he wouldn't take it. He'd 
taste the water in a drink if it was a foggy mornin'. Sure tay is for the strong- 
minded sex, like meself, doctor. 

DR. L. [R. at head of table] I'm sorry to find the old man such a wreck. 
It was lucky I happened to be in the neighborhood. 



THE GREAT DIAMOND ROBBERY 59 

OLD!,. [At stove] Oh, you come here too much, damme! Fire him out 
fire him out! [Strides the stove viciously with the pofer. They disregard him 
entirely} 

MRS. O'G. Don't mind him, don't mind him. It's very good of you, doc- 
tor. To think of the loikes of him, and you havin' so many rich people to 
attind. 

DR. L. Don't mention it. I knew the old man when he was a political in- 
fluence in his ward. 

MRS. O'G. I mind it well. That was in the Fourteenth, and he ought to be 
goin' to Albany this blessed minute. I hear, doctor, that the women do be 
takin' the politics in their own hands, thank God! 

DR. L. You always had your share of political influence in the Fourteenth 
I believe. 

MRS. O'G. But nary a job did I ever get. If I'd had the scrubbin' of the City 
Hall and the Court House as long as Mrs. Dooley, I'd be a ridin' in me coach 
meself, this blessed minute. [Goes to door L.] 

OLD L. [Seated R. of stove] Lay for'ed lay for'ed. [Strifes the stove with 
the pofer] How long is this thing going to last? 

DR.L. [Crosses to C.] You had better give him two powders Mrs. O'- 
Geogan. 

MRS. O'G. I'll give him half a dozen and choke him at wanst. It's yourself 
cud be doin' an honest widdy a good turn by spakin* to the senator. 

DR. L. []?.C.] Oh, you have more influence with him than I have. 

MRS. O'G. Influence, is it? May St. Peter fly away with him! He has a 
heart as big as his fist, but his tongue ought to melt in his mouth with his own 
blarney. Aha, is that you, Mrs. Dooley you'll be comin' up to see me in my 
new house on the Avenoo, says he, and drink a glass of champagne with the 
boys, at election toime. The devil an invite do I get to the house on the Ave- 
noo and me workin' like a nager with the gang on election day. Fm thinkin* 
I'll put on me trousseau at the next blow-out, and march into the house on 
the Avenoo. [Imitating him with hands on her hips] A-ha is that you, sina- 
tor? You'll be givin' Biddy O'Geogan a mug of champagne I don't know, or 
divil another whack will you git of election day. 

DR. L. Where is Pop Lavelot's granddaughter, Mary. I saw the girl once 
in fact, I assisted at her debut. 

MRS. O'G. She never had it. A healthier baby I never saw. 

DR.L. [Smiling] I mean, her first appearance. [Music till Mary is well 
on] She promised to become a very handsome girl. 



60 EDWARD M. ALFRIEND AND A. C. WHEELER 

MRS. O'G. She is a good girl and kept her promise. Didn't ye see her, doc- 
tor, she must have stepped out. I'll call her. [Goes to door R.$. and calls] 
Miss Mary whist here's the doctor. 

MARY. [Outside} I'm coming in a moment. 

Mus.O'G. [Coming down] It's no place for the bikes of her with her 
schoolin' and tinder sinsibilities. But the old pelican there has got a pot of 
money, and she's the only one who can manage him. [Going up to door R.J. 
Enter Mary ,3. Coming C.] This is Doctor Livingstone, miss. He knew 
your mother. 

DR.L. [Advancing to Mary] It's no use my telling you we have met be- 
fore* You wouldn't remember it. [To Mrs. O'Geogan] She has kept her 
promise indeed! A little pale, however and [Regarding her closely] I don't 
like the look of worry on your face. 

MRS. O'G. Bedad she's breakin' her heart, doctor! 

MARY. I need exercise, doctor. 

MRS. O'G. [Aside] Exercise listen to that. Does a cat need fur? 

DR. L. Well, you will have to let me come over and look after you a little. 
It will never do, your eyes are red. 

MARY. It is nothing, doctor. I took a little cold in them. [Crosses L.] 

DR. L. [Going toward door L.] Mrs. O'Geogan, don't forget two powders 
at night and one in the morning. Miss Lavelot, let me advise you to take care 
of your health. Good-bye. [Exits L.] 

MRS. O'G. Good-bye! He's the foinest doctor in New York. I'll speak to 
Senator McSorker about him. He ought to be on the health board his medi- 
cines are so tasty. 

MARY. You are very careless with your tongue and I am surprised at you. 

MRS. O'G. When you have killed me with your trouble, 111 not be able to 
speak of it. 

MARY. I don't want it spoken of to anybody. 

MRS. O'G. You're killin' yourself entoirely and there isn't a man on earth 
that's worth it. 

MARY. [Going to window] Oh, why does not Frank send me some word. 
I seem to be wandering about in a ghastly dream. 

MRS. O'G. It's that young man Frank Kennet, that's wanderin' about with 
the police at his heels. [Mary opens window and loo\s out; laughter; chil- 
dren's voices heard] Listen to that, and our hearts are as heavy as a hod of 
bricks. 

MARY. There is a girl dancing for them. She is a brazen thing. [Speaks to 
some one outside] Yes, this is Pop Lavelot's. You'd better come inside, I can't 
hear what you say. [Opens door L. Enter Dic\ Brummage and Peggy Daly. 



THE GREAT DIAMOND ROBBERY 61 

Door is left open. Brummage is roughly dressed as a longshoreman fea 
jacket and cap, muffler, etc. Peggy wears a short coarse styrt, cheap waist 
tucked into it } coarse jacket, yarn stockings and heavy shoes. She is eating an 
apple with juicy exuberance] 

BRUM. [Laughing. To Mary] I promised the girl to buy her a frock if 
she'd shake a horn pipe and blow me if she didn't kick it out on the flags like 
a boatswain's mate. She's got a foot like a ripple and a leg like the spar on the 
commodore's yacht. Shake them out a shuffle, old gal. 

MRS. O'G. Oxcuse me. This is a respectable man's house! 

BRUM. Well, she's respectable round the ankles. Wait till you see her. 

MARY. [L. at bac\ of sofa] Do you wish to buy something? 

BRUM. Yes. I got to buy the girl some togs. 

MARY. [L.] You had better go to a store. We've nothing but odds and 
ends. 

PEG. Say, old man, will you buy me a sweater? 

MRS. O'G. You had better hold your whist and get out of here. [Mrs. 0'- 
Geogan and Peggy scowl at each other] 

PEG. [To Brummage] Wait till I eat me apple and I'll take a rise out of 
the old woman. [To Mrs. O'Geogan] Say, old lady I'm the champion contor- 
tion-east. 

MRS. O'G. [.C.] You are, are you? Well you'd better take a tumble to 
yourself. I'm the Columbian terror from the Fourteenth when me rules and 
regulations is interfered with. [Gets broom] 

BRUM. [C.] If you don't dance she'll lather you. 

PEG. Lather me? Wait till I show you how I can dance? [Wild dance ad 
lib; Arapahoe spasm] 

BRUM. Now, old woman fetch her frock out. 

MRS. O'G. You don't need no decent woman's frock. You'd better go over 
on Broadway and buy yourself a set of tights. [Peggy goes up L.C.] 

MARY. [Coming down from window] Oh, get her what she wants, Mrs. 
O'Geogan and let her go. There's a lot of stuff in that back room. [Crosses to 
R.] 

MRS. O'G. It doesn't become me to be waitin' on the loikes of her. 

MARY. [Going to door J?.jJ Very well. I will wait upon her myself. [To 
Brummage] Wait a moment, sir. 

BRUM. All right. Take your time. [Crossing to R. Peggy dancing up stage 
C. Mrs. O'Geogan follows Mary to the door] 

MRS. O'G. Oi wouldn't ruin me reputation by stayin' alone with them. 
[Exit Mrs. O'Geogan and Mary #.3. Brummage immediately shuts door L. 
and returns to Peggy, who is dancing very quickly] 



62 EDWARD M. ALFRIEND AND A. C. WHEELER 

BRUM. [L.] Now then, Peggy Daly, what are you doing in Houston 
Street when your beatjs in Canal Street? Come, straight out with it. I'm 
looking at you. The old woman sent you up here what for? 

PEG. [Frightened] Who be you ? 

BRUM. You ought to know me pretty well. I'm Dick Brummage. 

PEG. Dick Brummage. [Tafes a step or two towards R.] 

BRUM. I got you out of the Oak Street station, but I'll put you back there 
pretty quick if you don't give it to me straight you were sent up here by 
Rosenbaum to watch this house. 

PEG. [R.C.] I hope to die, if I've done anything. A gal can come to 
Houston Street, can't she? 

BRUM. Yes, and she can go to Blackwell's Island when I've got a through 
ticket. The old woman sent you here to see who was hangin' about this house. 

PEG. [Beginning to cry. R.C.] She'd broke my back if I hadn't come. 

BRUM. That's all right. Keep your mouth still and I'll stand your friend 
yet. The old woman never bought you a frock since you've been with her. 
[Peggy crosses to table R. Enter Mrs. O'Geogan and Mary R.$. Mrs. 
O'Geogan carries a bundle which she puts on table R. Group to table exam- 
ining clothes. As Brummage speaks to Mary, she goes to window, leaving 
Mrs. O'Geogan and Peggy facing audience at table. While the conversation is 
going on between Mary and Brummage f Peggy pzcf^s up a lorgnette from 
table and hides it in the folds of her dress, going up R.C.] 

BRUM. [To Mary] I want to get some duds meself. 

MARY. I don't think you'll find what you want here, sir. 

BRUM. Oh, that room is full of odds and ends. I'll get the old lady to let 
me pick out what I want. 

OLD L. Oh, take him down the cellar and give him some oats. [Peggy 
loo^s sharply around} 

BRUM. Well, gal, you got your frock ? 

MRS. O'G. [R. of table R.] Yes; sir, there's the frock. It will cost you a 
dollar. 

MARY. [At window; to Mrs. O'Geogan] The gentleman wishes to buy 
some things himself. You'd better show him what you've got. 

MRS. O'G. [Resignedly] Oh, very well. Step this way, sir. 

BRUM. Good-bye, Peggy. You can start a dancing school now. 

PEG. [By door L.} So long so long I'm goin' to the Eyetalian Opera. 
[Exit Peggy L. Mary comes down and sits L. of table R.] 

MRS. O'G. [At door] This way, sir. 



THE GREAT DIAMOND ROBBERY 63 

BRUM. [To Mary] I'll see you again, lass, before I go. I might have some- 
thing to say to you. [As Mrs. O'Geogan and Erummage exit R.$. Mary 
drops her head in her hands] 

OLDL. Get over get over. Stand round. What's the matter with you? 
Whoa! [Strifes the stove with a pother as if it were a horse then rises and 
exits grumblingly and slowly jR.j. Enter suddenly FranJ^ Kennet street 
door L,; he turns, loc^s the door and comes C. quickly] 

FRANK. Mary! [Going to her] 

MARY. [Seated L. of table R. Looking up] Frank! [Covers her face with 
her hands] 

FRANK. [L. of her] Look me in the eyes. I'm hunted! Tell me i I am a 
murderer? 

MARY. [Staring at him] Where have you been these three days? 

FRANK. Trying to get to see you to see if you believed in me, for that was 
the only thing worth living for. [Puts hat on table R] 

MARY. You were hiding. 

FRANK. Do you believe that? 

MARY. [Rises] They were looking for you everywhere why did you not 
face this terrible charge of murder and robbery if you are innocent? 

FRANK. [Turning away aside] My God! Even she suspects me. [Goes up 
to window] 

MARY. You do not answer me. [Crossing to L-C.] 

FRANK. [Comes down R.C.] I will tell you. When I left Mr. Bulford's 
house on that fatal night, I started to come to you. My senses became be- 
wildered. I was numb with cold. I must have fallen down somewhere. 
When I recovered my senses, I was on the deck of a South American ship, 
and was being carried out of the country. I waited till dark set in, cut loose 
one of the boats and escaped from the vessel. A strong ebb was running no 
effort was made to pick me up. Almost dead with cold I succeeded in 
reaching the Jersey shore in the grey of the morning. When I saw the 
papers and saw the crime with which I was charged [Mary sits on sofa L.] 
one desire influenced me. It was to see you first and then give myself up 
and demand a trial. I have made my way to you to tell you I am innocent 
and to hear you say you believe me. The rest is fate. [Crosses to table, ta\es 
up hat and steps up a little. Reenter Brummage dressed as Old Lavelot. 
Seats himself R. of stove\ 

MARY. [Rising] What are you going to do now? 

FRANK. I am going to the nearest station. 

MARY. [L. bac\ of sofa] Can you prove your innocence? 

FRANK. [12.] Is that worth proving which no one will believe in? 



64 EDWARD M. ALFRIEND AND A. C. WHEELER 

MARY. [L. bact^ of sofa. Approaching him ] Frank, this is a terrible mys- 
tery. The blow has numbed me my heart tells me that you are innocent, 
but the dreadful facts stare me in the face. If you are innocent, we must 
prove it. [Crosses to C.] 

FRANK. [R. at head of table] Mary, I can fight adversity, and poverty and 
keep my spirit, but I cannot fight fate. [Throws his hat on table, R.] What 
cursed luck was it that sent me to that house that night and put me in 
these toils? [Comes down R.] I'll tell you what it was. [Bacf^ to C.] I was 
thinking of your happiness. 

MARY. You can never make me unhappy if you are innocent. 

FRANK. [R.C. Turns Mary to his R.] I am innocent and you are the only 
friend in the world that I thought would believe me. \ Crosses a step to L.C.] 

MARY. [R.C.] Oh, no! You must have a friend who can advise you and 
help you. 

FRANK. [L.C.] I thought so before I came here. 

MARY. [.R.C.] Well, in Heaven's name think so yet. 

FRANK. [L.C.] There is not a person on earth who will not believe me 
guilty after reading the newspapers. [Goes, loofys out of window] 

MARY. [7?.C.] I don't want to believe the newspapers. I want to believe 
you. 

FRANK. Mary! 

MARY. [Looking into each other's eyes] Let me look at you yes you are 
the same Frank to me no matter what happens. There is no murder in your 
eyes. [Embrace, C] 

FRANK. [L.] No, my darling, I could not put these arms around you 
again if they had committed a crime. All that I want you to do is to believe 
in me. 

MARY. Oh, I must do more. I only wish that I knew how. [Marino gives 
a loud \noc\ at street door, L. They are both startled} Go in there. [Pointing 
to door ]?./.] You must not be taken yet, I have so much to say to you. 
Go! Go! \K.noc\ again. Exit Franl^ J?.z. Mary goes to street door and f 
unlocking it, admits Marino] 

MAR. Are you Miss Lavelot? 

MARY. Yes. What do you wish? [Crosses L. to behind sofa] 

MAR. I am in search of Frank Kennet. 

MARY. [Aside] He has followed him here. [Direct] What is it you wish 
to know? 

MAR. [Coming down L.C.] I will be frank with you. I have learned that 
you are engaged to be married to Frank Kennet. 

MARY. Well, sir 



THE GREAT DIAMOND ROBBERY 65 

MAR. He is suspected of murder and the theft of valuable jewels. 

MARY. But he is innocent of both. 

MAR. You think so? 

MARY. I am convinced of it. 

MAR. [Quickly] Ah, then you have seen him since the murder and he 
has convinced you. 

MARY. [Aside] He does not know he is here. [Direct] He has not con- 
vinced me. 

MAR. I assume that you know where he is. 

MARY. But you must not assume that I would betray him if I did. 

MAR. I came here to open negotiations with him through you for the 
recovery of the diamonds, and to discover the murderer. 

MARY. I, too, am anxious to discover the murderer. 

MAR. [Eagerly] Has the murderer wronged you? [During the speech 
they are standing one each side of the table,, facing each other] 

MARY. Yes, he has. 

MAR. Then we ought to be able to act together. 

MARY. [R. of table R.] To what end? 

MAR. To the discovery of the murderer. If Frank Kennet is that mur- 
derer, you would like to know it, wouldn't you? 

MARY. I am anxious, as I have told you, to discover the murderer. 

MAR. Then we can be of some assistance to each other. Now put me in 
communication with him. It is much the best way. He will be caught in time 
and then it may be too late for us to recover the property. Think it over and 
I will come back and see you again. It is not my intention to annoy you. 
[Goes to door, L. Politely] I beg your pardon for this intrusion. [Bows and 
exits L. Door left unlocked] 

BRUM. [Getting up from stove, loof(s out of door L. Coming down C.j 
Well, you got rid of him very nicely, my girl. 

MARY. [Astonished] You? Who are you? 

BRUM. An officer from Headquarters, and I am waiting to see Kennet. 

MARY. [Overcome] Oh, Heaven! Then it's no use. I have betrayed Kim! 

BRUM. Well, don't go to pieces. Frank Kennet is suspected of two crimes, 
you know that? 

MARY. [At head of table R. bac\ to end of it] Yes, I know it, but he 
never committed them. 

BRUM. [C. up a little] He went to the Bulford's house full of revenge. 
He was left alone with the old gentleman. They had an angry conversation. 
They drank wine together, and Mrs. Bulford says that when she returned to 



66 EDWARD M. ALFRIEND AND A. C. WHEELER 

the room, Mr. Bulford was dead and the diamonds had disappeared. Have 
you read the papers? 

MARY. Qh, yes everything is against him but he is innocent I 
know it. 

BRUM. It is one thing to know and another thing to prove. 

MARY. Everything. [Covers her face with her hands} 

BRUM. No, not everything. Sit down here, you are trembling. [Mary sits 
on L. of sofa] Now listen to me. The coroner said Mr. Bulford was poisoned. 
But the inquest qould not tell with what. It might have been in the wine he 
drank and the belief is that Kennet slipped it in the sherry glass when Mrs. 
Bulford went out. He drank it out of a cut sherry glass. That is in evidence. 
Are you listening to me carefully ? 

MARY. Oh, yes. 

BRUM. [R. of sofa L.] Mrs. Bulford in her examination said that the two 
glasses were on the table when she returned to the room. But the police were 
in the house before twelve o'clock that night looking for the diamonds. 
Something had disappeared. 

MARY. Yes, yes, the jewel-case. 

BRUM. The cut sherry glass. 

MARY. Let me think. Yes. Go on. 

BRUM. Somebody had made away with it, and it could not have been 
Kennet. Don't you see that? [Mary jumps up} Don't excite yourself. Why 
was that glass made away with, and who made away with it? 

MARY. I understand. What do you intend to do? 

BRUM. I am going to save Frank Kennet if I can. 

MARY. Who are you? 

BRUM. I am Detective Brummage of the Central Office, the one friend 
that the newspapers haven't convinced. When I was a poor man and a friend- 
less boy, Frank Kennet's father befriended me and helped me. What are 
you crying for? [Goes up, opens door L., looJ(s out} 

MARY. I suppose it is because he's got such a good friend. 

BRUM, [Comes down C} I suspect there is some kind of deviltry at work 
in that house of the Bulfords. Do you know who that man was that just left 
here? It was Mrs. Bulford's brother. [Mary rises, goes L. around sofa at bacJ^ 
of it] But he will not suspect that Kennet is in town when he discovers the 
mistake he has made. 

MARY. [Behind sofa L.] Oh, tell me what do you want me to do? 

BRUM. It isn't much. [Tafes newspaper from pocket, points to paragraph} 
Read that. [Goes up, opens door L.] 



THE GREAT DIAMOND ROBBERY 67 

MARY. [Taking paper and reading} "Wanted a neat maid to attend a 
lady must not be over twenty-three; with good penmanship and a knowl- 
edge of hair dressing; apply in own handwriting to No. 400 Lexington 
Avenue." [Speaking] What does it mean? 

BRUM. It means that Mrs. Bulford has discharged" all her old servants and 
is hiring new ones. Can't you apply for that place? 

MARY. I? In that house? [Crosses to R. t sits L. of table] 

BRUM. There are some things in that house I want to find out. Once 
inside of it you can help me. 

MARY. [Seated L. of table] But you forget that Mrs. Bulford's brother 
who has seen me here will see me there and betray me. 

BRUM. No. I don't forget. You must take the risk of meeting him in 
order to help me. 

MARY. [Gets up and approaches Brumrnage] I will take all risks and 
encounter all .perils. 

BRUM. [Going to her placing his hand on her shoulder and speaking 
tenderly] You must be guided by me. We must not let it be known that 
Kennet has returned. The conspirators think he is out of the country and 
that makes them careless. I will take care of him and be responsible for him. 
[Door L. opens softly and Marino loo^s in and listens] You must trust 
me. I don't want to be known. [Marino beckons to someone outside] If you 
betray me we may lose everything. 

MAR. [Aside} The very man! Frank Kennet! 

MARY. I will believe in you and trust you. [Marino closes door and disap- 
pears L.] 

BRUM. Good! Keep your counsel. Frank shall not give himself up to 
anyone but me, until this is settled. Now I'll go and get these things off, or 
your grandfather will think his double is walking about. [Goes to door R-3-] 
Brave girl! Keep your spirits up. [Exits 2?.j.] 

OLD L. [Outside jR.j.] Mary! Mary! [Enter Old Lavelot from door, growl- 
ing; he reseats himself at stove and ta^es po\er] 

MARY. Yes, grandpa, dear, I'm coming. I'm coming. 

On>L. I want my bran, damn it! Been chewing on my manger ever since 
sunrise. 

MARY. Grandpa, dear, I'll get you something to eat right away. [Enter 
from L. door Marino and officer, Marino advances and points to Lavelot] 

MAR. There's your man. Ah, Kennet! 

MARY. Kennet! 

MAR. [With quiet triumph] This is better than we expected. You're a 
pretty sly bird but your game is up. 



68 EDWARD M. ALFRIEND AND A. C. WHEELER 

OLD L. [By stove] Throw 'em down the hay-lof t stairs I'm getting tired 
of this. 

OFF. It's no go. Will you come quietly or shall I put you out? Don't be 
a fool any longer. 

MAR. [Down to table; to Mary} It is not too late. Ask him where the 
diamonds are. [Crosses to C. Mary indicates by her manner that she under- 
stands the mistake and to save Fran\ is willing to J(eep it up} 

MARY. Frank \Brea\s down; officer seizes Lavelot; business of absurd 
struggle in which officer succeeds in getting him out of L, door followed 
by Marino^ The moment they are gone Mary runs to door and locJ^s it; calls 
in suppressed voice] Frank [Fran\ enters /?./.] We have only a few mo- 
ments. They have taken the old man by mistake and will be back as soon as 
they discover it. [Enter Brummage R^] 

BRUM. I'll be responsible for you. If they lock you up now, you can't help 
me. Fve the superintendent with me, but the people we are going to fight 
have only the commissioners and politicians. 

FRANK. And I, God help me, have nobody. [Brummage is between Mary 
and FranJ([ 

BRUM. Nonsense! You've got two of the best friends that any man ever 
had on this earth and they are going to help you. 

MARY. Yes, we are going to help you. 

FRANK. You? 

BRUM. Yes, she! [Puts their hands together] We've got a big fight, but if 
you'll be steered by Dick Brummage, we will run the real culprit to earth. 
[Quict^ curtain] 

ACT III. 

SCENE: Two days later. Dining room in Mrs. Bulford's house. Two entrances 
one at portieres in rear wall L. with screen in two folds, the other a hall door 
well up R.j, Buffet bac\ C. Table with cloth up C. with chair R. and L. of 
it. Large mirror L. TIME: Early morning* DISCOVERED: Mary at buffet with 
bac^ to audience looking at glasses. She wears a white apron and is plainly 
but tastefully dressed as a maid. 

MRS. B. \0utside L.} Susanne! 
MARY. [At buffet, startled] Yes, madam. 

MRS.B. [Outside L.] There is a man coming with flowers let him in 
and see who they are from. I am not dressed yet. 



THE GREAT DIAMOND ROBBERY 69 

MARY. Yes, madam. [Mary goes to kail door J?.j. Enter Dicf^ Brum- 
mage disguised as an Irishman and carrying two bouquets one large and 
the other small] 

BRUM. [Coming to table and looking around] Where's your mistress? 

MARY. You can put the flowers on the table. 

BRUM. How the divil then do Oi know I'm givin' them to the right 
person? 

MARY. Mrs. Bulford is dressing. It's all right. 

BRUM. Drissin', is she? Begorra it's yourself that needs no drissin'. 

MARY. You may leave the room. 

BRUM. Av course I'll lave the room. D'ye think I'd be takin* it wid me? 
Let me speak a word in your ear, my darlint. [They go around the table; 
Mary goes to hall door and opens it] 

MARY. Leave the flowers and leave the room. 

BRUM. There, me darlint. [Puts flowers on the table, approaches her f 
changes voice] Lass, don't you know me? [Goes to door L.] 

MARY. [Astonished] You? 

BRUM. Sh-sh-sh, not too loud. Where is she ? 

MARY. She is dressing. 

BRUM. There's something going on here tonight. Keep your wits about 
you. Have you discovered anything? 

MARY. Nothing. 

BRUM. Well, you will tonight. Keep your eye on that portiere if you see 
it move signal me at once and I'll stop. I've brought these flowers so as to 
keep you in sight. I am going to pretend that I have brought the wrong 
bouquets, so as to come back again with the right ones. Do you understand? 

MARY. Yes; you frighten me. 

BRUM. Keep your courage up, my little woman. If anything should hap- 
pen to you tonight in this place and you want to communicate with me 
write a line and put it in this small bouquet. I will leave it here and when I 
come back, I'll get it. Is it perfectly plain to you? 

MARY. What can happen to me? 

BRUM. Well, not much if you keep me informed. You haven't found 
out who made away with that glass ? 

MARY. No, I have found out nothing, yet. 

BRUM. Well, keep your ears open tonight. A girl's instinct is better than 
a man's reason when she's got a man to save. 

MARY. Yes poor Frank. Has he given himself up yet? 

BRUM. Yes to me. I am responsible for him. [Mary suddenly loo^s right 
at him and starts. Crosses L. Portieres move; Brummage's voice and manner 



70 EDWARD M. ALFRIEND AND A. C. WHEELER 

change] Phat the divil, then, do I care for the trouble. I'd carry the blissed 
flowers forty toimes to git a look at a pretty gurrl loike yourself, so I would. 
[Enter Mrs. Bulford through portiers] 

MRS.B. [C. up stage] What's the matter? 

BRUM. [At table] The divil of anything's the matter save meself who's 
brought the wrong flowers. Axin' your pardon, 111 have the right ones here 
before a billy goat cud eat them. 

MRS.B. Very well, you may leave the room. 

BRUM. [Taking up large bouquet and leaving small one} 111 lave that to 
sweeten your room anyhow. [Going at door] But with two such beauties, it's 
too sweet already for an Oirishman. [Exit through hall door R.j.] 

MRS.B. [Looking at flowers at head of table C.] Who sent the flowers? 

MARY. The man was so rude I could not find out and as you heard, he 
brought the wrong bouquets. 

MRS.B. Never mind. Attend the door I expect Dr. Livingstone. [Turns 
down R.] 

MARY. [Starting] Dr. Livingstone? 

MRS.B. [Turning quickly] What's the matter do you know him? 

MARY. No o. But, are you ill? 

MRS.B. No. He calls on business. [Door bell rings} There he is now. 
Show him in here. \Ta\es bouquet from table f smells it and places it on side 
table L. Mary opens hall door R.J; timidly screening herself with it, and Dr. 
Livingstone enters, wal\s straight in without perceiving her. He comes down 
hat and cane in hand; Mary exits door L.] I am glad you obeyed my 
summons, doctor. [Doctor puts hat and cane on table. Mrs. Bulford at sofa L.] 

DR.L. [Taking off gloves] Yes, you have summoned me for what? 

MRS.B. Will you be seated ? [Indicating chair] 

DR.L. [Still standing} Proceed, madam why have you summoned me? 

MRS.B. [Crosses to sofa end of it L.] I have a woman's curiosity and I 
wish to ask you some questions. 

DR.L. [Gravely] I trust, madam, that you will not occupy my time in 
gratifying your curiosity. 

MRS. B. [Sits on sofa] I pray that you will be seated, doctor. [Indicating 
chair. Doctor sits easy chair close to Mrs. Bulford] On the night that Mr. 
Bulford died, you told me that he died of apoplexy and that you would give 
me a certificate, but you changed your mind and notified the coroner. 

DR.L. You are correct, madam. Proceed! 

MRS.B. What I wish to know is, why you changed your mind after 
leaving my house. [Dr. Livingstone gets up and wallas toward door R.j. and 
does not immediately reply. Mrs. Bulford goes to the portiere L,., loo\s 



THE GREAT DIAMOND ROBBERY 71 

through, and returns to sofa] We are entirely alone so you may be confiden- 
tial. Why did you change your mind after leaving my house? [Mary appears 
at L. door listening; Dr. Livingstone sits on sofa L.] 

DR.L. [Speaking deliberately} Madam, I changed my mind because I 
saw you. 

MRS. B. [On sofa L.] Not after you left the house, doctor. 

DR.L. Yes. 

MRS. B. I did not leave the house that night. 

DR. L. [Looking at her and speaking slowly} No, but you came to an 
upper window. [Mrs. Bulford starts but recovers herself} You lifted the sash 
and threw something out. [Mrs. Bulford clutches arm of sofa involuntarily 
but smiles and loo\s the doctor in the eyes} 

MRS. B. What a curious hallucination. You must have seen my ghost. 

DR. L. Madam, that which you threw out of the window could not well 
be an hallucination, for I picked it up. It was a cut sherry glass with a mono- 
gram on it. It fell upon a heap of rubbish and was unbroken. [The two loo\ 
at each other for a moment. Mary, in her eagerness to hear f has pushed her- 
self in at door} 

MRS.B. This is really interesting. What did you find in the phantom 
glass, doctor? 

DR.L. A little of the wine adhered to the bottom of the glass. 

MRS. B. And you sent it to the chemist? 

DR. L. That was not necessary I tested it myself. 

MRS. B. And of course in all such romances you found 

DR. L. Poison. 

MRS. B. [Still seated on sofa} But, doctor, of course you didn't know what 
kind of poison it was? 

DR. L. Fortunately, I am one of the few who are familiar with it. It was 
the deadly Para poison made only in South America. It was that fact that 
defied the coroner. [Mary closes the curtains and disappears} 

MRS. B. Capital! And what did you say when you made this charming 
discovery? 

DR. L. I said to myself a woman will undo the craft of months with the 
impulse of a moment. [Rises] Instead of washing the glass you threw* it out 
of the window. It is by such miscalculations that crime is detected. 

MRS. B. [Rises] No, it is by such fairy stories that detection is misdirected. 

DR. L. I scarcely understand you. 

MRS.B. [Taking a few steps to C. with assumed lightness of manner} I 
mean that a disinterested person hearing your story would say the doctor 
was a confederate of ghosts and that phantoms threw the glass out to him, 



72 EDWARD M. ALFRIEND AND A. C. WHEELER 

especially when he acknowledges he is one of the few persons familiar with 
the poison. [Goes and stands by sofa] Besides, he went away the next day 
so as not to be present at the inquest. Then too he was, in all probability, on 
intimate terms with the phantom and may have made her visits extra pro- 
fessionally just as you are visiting me tonight. [Crosses to C.] Doctor. 

DR. L. [Bitterly] Madam, you are not only a clever, but an unscrupulous 
woman. 

MRS. B. But not so clever as you are, doctor, at inventing stories. Let me 
ask you have you told this to anyone? [Dr. Livingstone wal^s up and down 
R.] Try and compose yourself, doctor. Let me beg of you to be seated? [Sits 
L. of table C] 

DR.L. I was called away early in the morning after Mr. Bulford's death 
by a professional appointment at Montreal, and have only returned this 
morning. I have had no opportunity to give it much thought. 

MRS.B. Well, now, doctor, don't you think that in view of your own 
peace of mind and your future success in New York (I understand you have 
an eye on the position of health officer of the Port, which is a political gift 
I believe), don't you think, doctor, that for your own interests it would be 
well to abandon these ghost stories and thus save some estimable people from 
a great deal of annoyance? You are so eminent in your specialty of com- 
pounding medicines that it seems a pity to assume the risk of a romancer at 
your age. 

DR. L. [Seated R. of table C. After pause looking at her] You are right, 
madam, I have compounded medicines for many years, but I never com- 
pounded a felony. 

MRS. B. Now you are angry, doctor; I beg your pardon. 

DR- L. If you had studied faces as long as I have, madam, you would 
know that what you call anger is only a man's pity. 

MRS^B. Not pity for me, doctor, I hope. 

DR. L. No, madam pity for an innocent man somewhere who is accused 
of a crime he never committed, 

MRS.B. But who, if the papers are correct, ran away from the crime? 

DR.L. [Turning] But I am informed that he had a friend who has not 
run away. 

MRS.B. Are you referring to yourself, doctor? 

DR. L. No, I am referring to a woman. So far as I am concerned I have 
been trained to the rigid performances of two duties one to my patient. 
[Pause] The other to the public. 

MRS. B. [ Rising] Then, doctor, I hope that you will always permit me to 
be your patient. [Mrs. Bulford goes L. Doctor JR.C., watching her] Doctor, 



THE GREAT DIAMOND ROBBERY 73 

would you mind telling me who is the woman in your fairy story so inter- 
ested in this matter? [Doctor is surprised, but docs not answer. Mrs. Bulford 
calls through portiere] Susanne! I have a morbid desire to meet her. \Thc 
doctor has turned toward audience and does not see her] You and this woman 
both know of the phantom glass I suppose? 

DR.L. [Annoyed] Madam, I have already told you that I just returned to 
town and have as yet communicated with no one. She therefore could not 
know it unless unless she had been listening to our conversation. Madam, 
as I can be of no further service to you, I think it would be well for you to 
change your physician. [Bows. Mary enters L* Doctor goes to table to 
ta%e his hat and cane and comes jace to face with Mary across table. Doctor 
starts as he recognizes her. Mary appealingly puts her finger to her lips and 
signals him not to betray her; all of which Mrs. Bulford sees in the mirror L. 
and turns quickly in blan\ dismay to watch them. Doctor hesitates a moment, 
loofys from one to the other f tafyes his hat and cane and comes down C. 
With dignity} Madam, I wish you good evening. [Mrs. Bulford is speechless 
and only glares at him. Doctor exits hall door R.$. Mary glides quickly out 
at R.j. Mrs. Bulford comes down to table in great agitation] 

MRS. B. [Leaning over table C.] What does it all mean? Let me think 
let me think? They know each other what were his words? What were his 
very words? Unless she has heard our conversation. There are two of them 
who know. I have been spied upon in my own house. Where are my wits 
where are my wits. What I do now must be done quickly. Who is this 
woman? [Enter Mary R.$.] 

MARY. Madam, the senator. 

MRS. B. Ah! [Mary holds door R.j. Enter Senator McSorJ(er dressed in 
Prince Albert coat; wears a large diamond; typical well-to-do New Yorl^ 
politician] 

SEN. [Heartily} Ah ha there you are, lovelier than wax. Madam, yours 
obediently. You look like a four-year-old. 

MRS.B. A four-year-old. Do I look childish, senator? 

SEN. No, no, no I mean a horse. 

MRS. B. Look like a horse Heavens^ senator. 

SEN. I beg your pardon of course not of course not. You know what 
I mean an angel. 

MRS. B. {Still L. on sofa] I see, when you say a horse you mean an angel. 

SEN. [Front of sofa] What's the matter? You look as though you'd been 
nominated and withdrawn. 

MRS. B. We all have our troubles. 



74 EDWARD M. ALFRIEND AND A. C. WHEELER 

SEN. [Seating himself in chair] I'll buy your troubles at your price and 
carry them around for a pocket piece. What's your price? 

MRS.B. [Coquetting with her foot} Yes, I dare say a man with your 
influence could soon end my troubles if you were sufficiently interested 
in me. 

SEN. [Seated R. of sofa L., looking at her foot] Say, that's good. I like that 
interested in you do you want me to get down on my knees like they do 
in the play? Lock the doors I'll do it. 

MRS. B. No, no if there is any appealing to be done, I must do it. 

SEN. Ha ha that's good. Now I particularly like that. You appeal to 
me? Say that's rich. Whatll you have? 

MRS. B. You're a generous man, but I want too much. 

SEN. Name it! Name it! put up your scale. If I haven't got it, I'll bor- 
row it. 

MRS. B. Ah, what would I have given to have met a man like you earlier 
in my career how different my life would have been. 

SEN. [Slapping his faee] Better late than never. Call off your wants. 

MRS. B. You're like all men when you're in a generous mood and would 
play the lover. 

SEN. By Heavens, I would do anything else but play the lover. 

MRS. B. I am afraid I want something more than a lover. 

SEN. Anything you like how would slave do? 

MRS. B. What I want is a protector. 

SEN. All right I'll protect you from other lovers and I'll begin now. [Sits 
down on sofa beside her and puts his arm about her] 

MRS. B. I want protection from powerful enemies. The man that wins my 
favor must shield me from scandal if he has to stop the law and defy the 
machinery of justice. Are you able to do that? 

SEN. [Attempting to rise] Ain't you drawin' a it a little strong? 

MRS. B. [Attempting to rise] I see your power and your devotion are not 
boundless! 

SEN. [Pulling her back] Don't go off that way I'm yours. Do you want 
me to start something or stop something? 

MRS. B. I want something stopped. That dreadful affair of Mr. Bulford's. 

SEN. But you didn't have anything to do with it. 

MRS. B. [Snatching his hands] I don't want anything to do with it that's 
the point. I have enemies who hope to drag me into court. 

SEN. Look here I'm gone to pieces on you see? I don't know what 
you want me to do, but 111 do it if you don't play me. 



THE GREAT DIAMOND ROBBERY 75 

MRS. B. I want you to stand between me and my personal enemies when 
the time comes, no matter who they may be, you will crush them with all 
the influence and power that your position gives you. Now do you know? 

SEN* [Fondling her\ It's a go. I'll show you how we handle these things 
in New York. [Seizes her hand] 

MRS. B. You are hurting my hand, senator I have a sharp ring on it. 

SEN. [Looking at ring} Gee willikens where did you get that blazer? 
You must have been, in politics yourself. Fve carried the district attorney's 
office in one pocket and the Central Office hi the other, but I never had a 
stone like that on my finger. [Mrs. Bulford pulls her hand away quickly] 

MRS. B. Senator, I'm going away in the morning to a quiet place in the 
country. 

SEN. [Rising] Going awayl Oh, come now, you can't do that. Damn it I 
beg your pardon. I've made all arrangements. [Sits on sofa again] 

MRS, B. Arrangements for me? 

SEN. Now see here, I told you tomorrow is election day and if things go 
right, I'm going to give the boys a blow-out at my house on Madison Avenue 
and I want you to be there. 

MRS. B. Oh, but senator, I should dislike to appear in public at this time. 

SEN. 'Tain't in public it's my private house. I'm going to give a banner 
to the Fourteenth and I wanted you to give it away. I made all calculations. 

MRS. B. Who will be there ? 

SEN. Only my friends, the politicians, and they're your friends. See? 
And you have to stand in with them. You needn't come till late. I'll take you 
away as soon as it's over. 

MRS. B. You don't have to announce me by name? 

SEN. No we'll call you the glittering Goddess of Liberty anything you 
like. I'll waltz you through and take care of you. That's the way to see 
whether I can protect you or not. 

MRS. B. [Rising] I suppose I must earn my protection by obeying you. 
[Enter Marino hurriedly from L.] 

MAR. How-de do, senator. [To Mrs. Bulford] Was Dr. Livingstone here 
half an hour ago? 

MRS.B. Yes, yes. What's the matter? [L.C. senator L.; goes round sofa 
up L. to C.] 

MAR. He is killed! A fire truck run into his carriage on the Avenue and 
threw him out on his head. I happened to pass at the time and the ambulance 
attendant, who had the doctor's book, said that his last call was here. [Mrs. 
Bulford clasps her hands and shivers] 

MRS.B. Dead! 



76 EDWARD M. ALFRIEND AND A. C. WHEELER 

MAR. What's the matter? 

MRS.B. [Laughing hysterically] Nothing it is so sudden. Give me a 
glass of water dead then there is but one. 

SEN. [To Marino, coming down C.} Young man, go and sit down. 
[Tafes Mrs. Bulford over to sofa] 

MRS. B. Gentlemen, I shall have to ask you to leave me. You have undone 
me for the moment. [Sits on sofa L.] 

SEN. Don't forget tomorrow night, dear. Get yourself in your best- 
good-bye. [Goes to door R.J.] Young man, you're too damn sudden! [Exit 



MRS. B. Come here and sit down. 

MAR. [Sits on sofa] What is agitating you so? You don't usually take on 
in this way. 

MRS. B. Did you send the message to the old woman, that I gave you? 

MAR. Yes, I did. 

MRS. B. I must have some money and I have a few jewels that she will pay 
me a better price for than any one else. Is she coming? 

MAR. Yes, but I don't want to see her. 

MRS. B. No, I will spare you this humiliating business, but I must have 
some money. You know more about this woman than I do. 

MAR. I know too much about her to have her name linked with yours. 

MRS. B. Did you understand that she is the woman who hates Don Plon? 

MAR. Yes, he is said to have betrayed her son who was executed. What 
are you asking me this for, now? 

MRS.B. [Sotto voce\ And she has threatened to be revenged? 

MAR. Yes. What has got into your head? 

MRS. B. That is all. I wanted to be sure I had not dreamed it. 

MAR. [Rises] You look as if you had a fever and a bad dream. If I were 
you Fd go and lie down before she comes. [Bell heard] There she is now. I'm 
going to skip. [Music. Enter Mary .R.J.] 

MARY. Madam, a lady in black she would not give her name. 

MRS.B. Let her in. [To Marino] You must be at the senator's house to- 
morrow night, I may need you. 

MAR. [Going] Yes, but I don't like the crowd I'm not a politician. [Exit 
Marina L. door. Enter Mother Rosenbaum R.J; she advances to C.] 

Ros. [Down to C.] Ah, madam, you will not come to see me in my little 
store, so I must come to you, when you have something to sell. 

MRS. B. [Fastening bacl^ the portiere} Sit down, madam. I did think of 
selling my few family jewels, but I have changed my mind as I am going to 
remain in the city. [Both seated on sofa] 



THE GREAT DIAMOND ROBBERY 77 

Ros. You have not many diamonds? Ah, madam, you are too modest. I 
think you have the finest jewels in America. 

MRS.B. [Sits in chair next sofa] What makes you think so? I am not a 
rich woman. 

Ros. Ah, it is not the rich woman who has the most diamonds. 

MRS. B. I have a few jewels that were presents 

Ros. [Interrupting] They were presents to you heh? 

MRS. B. I said presents, but I have concluded to keep them. 

Ros. Are they diamonds? 

MRS. B. Yes, but of no great value. 

Ros. Have you not a ruby? 

MRS. B. [Face to her in chair by sofa] Now if we are to do any business, 
let me beg of you to be at least respectful. 

Ros. Respectful, madam? I very much respect the woman who has a ruby 
and a large ruby what you call u-m. Mein Gott, woman, I could not, at 
my time of life, ask where people get things. 

MRS. B. You are affected with the same suspicion that besets other people, 
and that is that I have the Garbiadoff jewels. You and your friend Plon are 
both of one mind. I sent for you to get you to help me against his plot. 

Ros. The dog! You say Plon is my friend and he and I are of the one 
mind? Oh, madam, do not say that again, or you will make me your enemy 
for life. Plon the hound! It was he who made my poor and only boy suffer. 
The dog! I wish I had my fingers on his throat. 

MRS.B. The miscreant has a woman whom he employs to obtain his 
plunder. 

Ros. Yes, yes I know, I know. 

MRS. B. [Seated R. of her] She is here in my house. She obtained service 
as a maid. I caught her tonight telegraphing to a visitor. She has been eaves- 
dropping here for a week. 

Ros. [Eagerly] Where is she now? 

MRS. B. She is at the other end of that passage and she cannot approach 
without my seeing her. [Rises and crosses to end of sofa L.] 

Ros. [Going up and down. Hesitates, then eagerly] How do you know 
that she is Plon's woman? [Down by sofa R. of it] 

MRS. B. [Hesitating] Because I discovered a letter from him in her room. 

Ros. [Viciously] Ah the sweet little creature give her to me. 

MRS. B. How can you take her ? 

Ros. I will not take her she will go herself just as gently you shall see. 
What is she here for? Is she not looking for the diamonds? 

MRS.B. Yes, yes well? 



78 EDWARD M. ALFRIEND AND A. C. WHEELER 

Ros. Will she not know that I come to buy the diamonds anybody can 
tell by my poor dress that I buy diamonds I do not wear them. You shall 
tell her to go in my carriage and bring the diamonds here from my place. 
She will think they are the GarbiadofFs and to get them in her hands, she 
will be so eager she will go. [Viciously] But she will come away not again. 

MRS. B. But I cannot consent to any step that will imperil my character. 

Ros. Gott in Himmel. If I did not respect your character, I would not be 
seen in your house. I have a character myself. 

MRS. B. But my friends Senator McSorker. 

Ros. If you did not have Senator McSorker for your friend then would I 
not do it? Of course you will marry the senator. 

MRS. B. Marry the senator ? 

Ros. Aye. Aye. You will marry the senator. You will go to his party to- 
morrow night. You will put on all your jewels and your fine dresses and 
when he sees you come down the staircase, he will think you came down 
from Heaven, like the angel you are. Now if you do not fix the senator to- 
morrow night, not even Rosenbaum can save you. Now let me see the jewels 
the diamonds. 

MRS.B. Let you see the jewels? What for? 

Ros. What for? Mein Gott! Woman, do you think I make a bargain with 
a cat in a bag? 

MRS.B. You are a queer creature. You are erratic. 

Ros. Am I? Well, I see, I see, Rosenbaum cannot do any straight business 
with madam so I'd better go. {Starts to rise] 

MRS.B. Stop! Sit down. 

Ros. Well, I sit! Well? 

MRS. B. I cannot lay hands on the jewels at the present moment 

Ros. Yes, you can. 

MRS.B. How? 

Ros. Because they are here. 

MRS.B. Here? Where? 

Ros. On your person. Get them out. To save you I must see the jewels. 
[Mrs. Bulford goes to portieres, pulls curtains together, then goes to chair L. 
of table, taf^es up cloth with bac\ to audience at C. table in front of it, and 
pretends to ta^e jewels out of her bosom then goes down L. of Rosenbaum, 
who is on sofa. Mrs. Bulford sits, unwraps cloth. While Mrs. Bulford is at 
table] I always thought she killed old Buliord, and now I know it. [Mrs. Bul- 
ford goes down to Rosenbaum. Examining jewels] Now shut them up. [Mrs. 
Bulford rises, goes to C. table. Business] And now let me see Plon's woman. 
You shall send her in my coach to my house on an errand. 



THE GREAT DIAMOND ROBBERY 79 

MRS. B. Very welll [Goes to portiere and calls] Susanne! Susanne! [To 
sofa] Be careful, or she will suspect. [Enter Mary L.] 

MART. [Down C.] Yes, madam. 

MRS.B. Susanne, pay attention. I have some jewels which this kdy took 
to her house to sell for me, but as I have changed my mind, I want to get 
them back again. Can you get in this lady's coach go to her house and bring 
me the jewels? 

MARY. Yes, madam. [Aside] Heavens the jewels! [Direct] Do you 
wish me to go now? [Mrs. Buiford at bacf^ of sofa\ 

Ros. [Seated on sofa L.] Right away, my dear. What a beautiful child you 
are. You must be careful and come right back heh while I wait here for 
you. 

MARY. Yes, madam. 

Ros. Come here, my child. [Mary crosses to head of sofa, Mrs. Buiford 
crosses to C.] 

Ros. [Taking her hand] What a beautiful hand! [To Mrs. Buiford] 
Madam, it is not right to send a child on such an errand I will go myself. 

MARY. [Nervously ] I can do it, madam. 

MRS. B. There is no danger that I can see. Give her a noteshe will get 
the package and come straight back. I would not have her take any risks. 
[To Mary] Go bring paper and pencil, Susanne. [Exit Mary at L.] 

Ros. [Clutching Mrs. Buiford by the arm] I will save you, but how will 
you save me? 

MRS. B. Save you what do you mean ? 

Ros. Mein Gott! Woman, do you think I save people for the amusement? 

MRs.B. [In chair next to sofa} What do you want? 

Ros. [With her face close to Mrs. Buiford and with hissing intensity] I 
want the "Heart of Fire," 

MRS. B. [Rises and suddenly with dignity] Why? 

Ros. If we cannot understand each other, then what for do I come here? 
Do you think I have no heart? I have, my dear, I cannot take a young lady 
from such a nice home it is too cruel. [Sits again on sofa] 

MRS.B. I must have my jewels to wear tomorrow night at the senator's. 
The day after I will talk to you. Can you trust me? 

Ros. I do not have to trust you when I have the young woman. [Enter 
Mary at portieres with paper; place it on side table front L.; crosses to C. table 
and taf(es bouquet from table and goes t& buffet with it where she is seen by 
audience putting a folded paper into the bunch of flowers, which she places 
on table while Rosenbaum is writing on side table. Mrs. Buiford is watching 
Roscnbaum\ 



8o EDWARD M. ALFRIEND AND A. C. WHEELER 

MARY. [At C. table, aside} If anything happens to me he said he would 
get this. 

Ros. Come here, my dear. [Gives note to Mary who comes down} 

MRS. B. [Behind Rosenbaum without turning around} Do be careful of 
yourself, my child. 

Ros. [Rising and crossing to Mary} I will tell my coachman to be very 
careful of her and bring her right back. [Exit R.$. Rosenbaum and Mary. Mrs. 
Bulford watches them off nervously and the moment they disappear, she 
jumps up and wal^s stage to C. Enter Marino from L. the two face each 
other} 

MRS. B. You! Why have you come back? 

MAR. Did Susanne go out? [Goes toward portiere} 

MRS. B. [Quickly] Yes, why ? 

MAR. I wish to speak to her. 

MRS.B. [Controlling herself] Try and behave yourself in my room 
what do you want of Susanne? 

MAR. [Going up a little} Do you know who she is? 

MRS. B. What do you mean? 

MAR. I have been thinking of her a great deal. She may know something 
of the murderer of Mr. Bulford. 

MRS. B. [Sotto voce} Yes, she may. 

MAR. [Catching Mrs. Bulford by the arm impressively} Maria, are you 
sure that when you returned to the room that night the jewels were gone? 

MRS.B. What are you talking about? Have you lost your wits? 

MAR. Where is the girl? [Enter Rosenbaum at R^} 

MRS.B. [Hesitating and looking at Rosenbaum} She is gone, 

MAR. [Astonished} Gone where? 

MRS.B. [Impressively} I do not know. [Wal^s rapidly} 

MAR. [Excitedly} But I will know. [Rosenbaum and Mrs. Bulford to front 
L. together} I am going to find the murderer of Mr. Bulford. [Marino ta1(es 
bouquet from table and mechanically sniffs it as he tual\s. Enter Dic\ Brum- 
mage from R.j. with flowers} 

BRUM. Oi've brought ye the right flowers. [Loo\s at bouquet in Marino's 
hand disconcertedly} And Oi'd thank you to give me that one. 

MAR. [Walking, carelessly} Oh, Til keep this oneI like it. Leave the 
room. 

BRUM. [With comical distress} Shure you wouldn't have a man lose his 
place, by lavin' the flowers wid ye that belonged to some one else. 



THE GREAT DIAMOND ROBBERY 81 

MRS. B. Oh, give him the flowers and let him go. [Marino throws bouquet 
to Brummage, who seizes it eagerly and goes to door behind screen, faces 
audience, looking into bouquet for paper. Marino continues walking} 

Ros. [To Mrs. Bulford] You will bring me the "Heart of Fire" on Thurs- 
day. 

MRS. B. [To Rosenbaum] You are sure that when she left this house, she 
could communicate with no one? 

Ros. Ah, when she go away from here, no one shall ever know one word 
from her. [Brummage pulls Mary's note from bouquet deliberately, putting 
it in his pocket] 

ACT IV. 

SCENE : Hoffman House Cafe. The set represents the room as if seen from 
Twenty-fourth Street. Square bar in C. with fixtures; barkeeper dealing 
liquors. Groups ad lib. Large frame of Bouguereaus Nymphs seen in profile 
L.C. lit from above. Statuary, plants, etc., and six tables arranged at equal dis- 
tances in front and up R. TIME: Eight o'clocl^ in the evening. Brummage 
seated at table L. Enter countryman L.C., comes down slowly and stops in 
front of picture. His attention is -fixed. He is amazed loofc intently, loo\s 
furtively away and loo\s bacJ{ at the picture in the same way. Enter Mrs. 
O'Geogan looking at picture and then to Marino who is at the bar. 

MRS. O'G. Is Senator McSorker here? I came here to find him. 

MAR. No, I have not seen him. 

MRS. O'G. [Looking at picture aghast, pointing to it] What's them? 

MAR. What do you mean, the picture? 

MRS. O'G. Yes. 

MAR. The picture is called the Nymphs and the Satyr. 

MRS. O'G. Please say that agin to me, I didn't catch it. 

MAR. The Nymphs and the Satyr. 

MRS. O'G. That's a funny name for them women. Why they ain't got no 
clothes on. Why don't they put some dresses on them? 

MAR. They are painted natural. 

MRS. O'G. Yes, they's mighty natural. There is no mistake about that. It 
ought not to be allowed. It is sinful. [Pauses] But they are daisies you bet. 

MAR. Why do you look at them, if it be sinful? [Crosses down below] 

MRS. O'G. I can't help it, they fetches me so. Them gals is peaches, ain't 
they? Why, I can't just take my eyes off them. Natur is natur, and I'm just 
as natural. Air you still hungering for the flesh pots of Egypt? If you see the 
senator tell him his old friend Mrs. O.'G. is looking for him. Good-bye. [She 



82 EDWARD M. ALFRIEND AND A. C. WHEELER 

and Marino exit La. Enter Count Garbiadoff R.; he comes down front. 
Dic\ Brummage, who has been seated at table L. since rise, sees count and 
aff roaches him] 

BRUM. Well, Count Garbiadoff, you are, I observe, taking in all the sights 
of the city. 

COUNT. [Surprised] Who are you? 

BRUM. [Opening coat and showing badge} Detective Brummage. We met 
at the Central Office today. 

COUNT. Oh, yes. I remember now. Haf you tell me something? 

BRUM. Yes. Sit down. [They sit L.] 

COUNT. What is it, speak. I am anxious to hear. 

BRUM. Could you identify your diamonds if you saw them? 

COUNT. Every stone. 

BRUM. Even if on the person of the woman we suspect and at night? 

COUNT. Yes, under any circumstances. 

BRUM. The politician under whose protection this woman is, gives a party 
at his hotne, No. 1360 Madison Avenue. You must be there. 

COUNT. What for? 

BRUM. The woman will be there, and I think will wear your diamonds. 

COUNT. Wear my diamonds? The audacity it is not possible! 

BRUM. I think she will wear them. A woman's vanity is always greater 
than her caution. She does not believe that anybody can identify them, and 
as she does not know the Count Garbiadoff is here. Be careful, remember 
you are sent there only to see them. 

COUNT. Oui. I came all the way from Cracow to see them and to see her. 
[Aside] I will tear them from her the pitiless wretch. 

BRUM. Let me warn you not to be rash. If you can identify your jewels 
on her it will be all we can do tonight. If you are not prudent you may ruin 
us both, and destroy all chances of recovering the property. 

COUNT. Mon dieu! Do you tell me I shall take only ze look and go back 
to Cracow with vat you call ze tail between ze legs? Pah! You shall call the 
gendarmes. 

BRUM. Everything will be gained for the courts if you can identify the 
woman and the jewels. That is enough. Everything else would be madness. 
You do not understand this politician's power. 

COUNT. Canaille, I do not understand. 

BRUM. Calm yourself and meet me at the senator's tonight. Any cabman 
will carry you there. 

COUNT. The entree? How will I get that? 



THE GREAT DIAMOND ROBBERY 83 

BRUM. Walk boldly in. The company will be so mixed that the senator 
will not know his guests and you will not be recognized. Now we had better 
say good-bye for the present, as I have other work to do. 

COUNT. Au revoir. [Exit door off R. at bac\. Erummage waves his hand 
and sits L. reading paper. Enter senator L.2., followed by Marino, Clancy f 
Erannigan and others. He is greeted cordially by several as he comes on to 
front of bar] 

SEN. Well, well, boys, as I was telling you, I have always depended on the 
Fourteenth. She deserves the banner and tonight she gets it see? The hand- 
somest woman in New York, my friend Mrs. Bulford, will make the presen- 
tation. Gentlemen, Mr. Marino, her brother. He is going in politics. [To bar- 
tender} Set 'em up, councillor. [The two heelers sha\e Marino's hand, 
boisterously} 

CLAN. There's nothing the matter wid the Fourteenth. She gits the ban- 
ner, dat's all right; and I get me brudder out of Sing Sing, eh, senator? 

SEN. You bet. Have some cigars. [Business with cigars. First heeler ta\es 
a handful from the box and puts them in his coat packet, conversation in 
dumb show} 

BRAN. Ah, what d'ye know about the Fourteenth? You was brought up 
in de Sixth. 

CLAN. De men in de Sixth learned the trade of votin' before de Four- 
teenth was made. 

BRAN. Ah, de Fourteenth don't depend on no votin' when dey can do de 
countin'. What's de Fourteenth care for voters when dey got de inspectors? 

COUNT. I am very anxious to learn the political methods of New York, 
but I don't know at present what I am to do to help on the glorious cause. 

BRAN. Well, you kin do the drinkin' can't yer, like the rest of us? 

CLAN. Ah what does the Sixth know about drinkin'? [Sheeney IJ(e ap- 
pears L. coming down R., stops at corner of bar L. and tries to catch the 
senator's eye. Erummage moves so as to see Sheeney l\e over his paper} 

SEN, [Laughing] You'll have to take my friend down in the Sixth and 
show him the ropes. [Sees Sheeney I^e] Excuse me a minute, gentlemen. 
[Goes to corner of bar, conversation of heelers continues in dumb show] Are 
you looking for me? 

IKE. Yes, Mother Rosenbaum sent me up from Canal Street. 

SEN. What's the matter with her now? 

IKE. She says there's a special from the Central Office a workin* the Bul- 
ford lay. 

SEN. Well, it's none of his business. I'm takin' care of that. Tell the old 
woman to brace up. What's she got to do with it anyhow? 



84 EDWARD M. ALFRIEND AND A. C. WHEELER 

IKE. She says they're a tryin* to fix it on the widder Mrs. Bulford. 

SEN. Oh, they are, are they? Well, it don't go, because I'm lookin' out for 
the widder, and he can't work no lay there for I'll call him down. I've got a 
party at my house tonightgoing to have Mrs. Bulford present the banner 
to the Fourteenth. You tell the old woman to rest easy in her mindI will see 
her tomorrow they can't work no lay without me. You bet. [Marino going. 
Senator and Use's dialogue continues in dumb show. While this conversation 
has been going on, the two heelers have got into violent altercation in dumb 
show which Marino absurdly tries to prevent, and both rush to senator for a 
decision, coming to the corner of bar L. and opposite table where Brummage 
sits] 

BRAN. [With great excitement] Well, I'm bettin' me pile on it. [Pulls an 
enormous roll of bills from his hip pocket and slaps the roll down violently 
on table. First heeler pulls a still larger roll from pocket and imitates defiantly] 

CLAN. Say, your money was born deaf and dumb. Here's the money what 
talks. [Brummage gets up, disgustedly holding paper. Business continues be- 
tween heelers in dumb show, Marino showing absurd anxiety and astonish- 
ment, senator leaning against bar and laughing at them. Senator and Ify 
move away from heelers] 

SEN. [To I\e] Who's the officer that's meddlin' in this matter? 

IKE. She says it's Brummage. 

SEN. Well I'll break him tomorrow, see? Have a drink, have some wine? 
[Heelers coming promptly to bar again. At this moment great shouting is 
heard in the office and a crowd of Princeton and Yale boys shouting college 
cries and waving flags, singing songs, come crowding into room. Everybody 
yells, scenes of confusion, students cluster around the bar or sit at tables and 
pound bells ordering drin\s Senator and his friends form a group at bottom 
of bar, drinking and looking amusedly at boys. Franl( is seen coming on at 
bac\ mingling with the crowd. The moment he is well on, Brummage spies 
him and rushing across to him, ta\es him well R. and in a low voice but 
excitedly j says] 

BRUM. My God, what are you doing here? I told you not to leave the 
house. 

FRANK. I know, I know. But I couldn't stand the suspense any longer. So 
I came here hoping to see you, and hear something of Mary and my own fate. 

BRUM. Well, I have something to say to you, and not much time to say it 
in. 

FRANK. Where is Mary? 

BRUM. Don't look around we may be watched. Mary's kidnapped. 



THE GREAT DIAMOND ROBBERY 85 

FRANK. My God, then what are you doing here? [Ife's attention is at- 
tracted by Franks manner] 

BRUM. Do you want to tell everybody in the place what we are talking 
about? 

FRANK. [Dropping bac\ in his chair] Kidnapped on my account and I am 
helpless! 

BRUM. I respect your feelings, but just now they are damned risky, for 
we've got work to do. 

FRANK. Why don't you tell me where have they taken her? Who- are the 
miscreants? 

BRUM. Well, don't shout I'm trying to find out. I've got a letter from 
the girl. If you'll keep quiet I'll show it to you. [Produces note that he too\ 
from bouquet. Subdued laughter in bar, rear. Brummage and Fran\ listen a 
moment. Brummage then hands Mary's note to Fran%] 

FRANK. [Reading with difficulty] "I am going to Madam Rosenbaum's 
to fetch the diamonds to Mrs. Bulford don't know where. I am suspicious 
and nervous. I depend on you if anything happens to me." {Direct} What 
Madam Rosenbaum, where has she gone? 

BRUM. There's only one old woman in New York that's likely to be mixed 
up in this, and she's a desperate character protected by the politicians and 
rolling in ill-gotten wealth. She has never hesitated at murder when it served 
her ends, for she goes to that senator there for protection. There stands the 
senator and there's the old hag's man talking to him. 

FRANK. [With gesture of impatience] My God! What iniquity! 

BRUM. Well, don't telegraph it. It must occur to you that in any case they 
wouldn't send the girl to fetch the diamonds and if they made her believe it, 
it was to trap her. 

FRANK. Go on you've got the knife into me turn it around. Is there no 
living show for innocence in this city? 

BRUM. Well, there is if you've got patience, and if you've got your facts 
right. But there's something else on that paper I couldn't make out. \Fran\ 
looJ(s at paper] 

FRANK. Yes, there's something else, but it's rubbed. [Holds paper to light] 
Oh, yes. It says "I know all about the glass." What does that mean? 

BRUM. [Starting] Does it say that? [Snatches paper and Ioo1(s at it] 

FRANK. What does it mean? 

BRUM. It means that she knows something and they've tried to make 
away with her. 

FRANK. For God's sake, tell me what you're going to do. 



86 EDWARD M. ALFRIEND AND A. C. WHEELER 

BRUM. I'm going to get the information tonight. Tomorrow it will be too 
late. They are celebrating that politician's power now. Tomorrow he will 
stand between us and justice. 

FRANK. We are wasting time it may be too late now. 

BRUM. Try and be cool and listen to me. The only way to save her is to 
get that information. [Ife leaves senator and comes slowly and guardedly 
toward picture bac)^ of table where Brummage and FranT^ are sitting. Senator 
goes up R. to other groups'] 

FRANK. Very well, man, let's be quick about it. 

BRUM. The old woman has two places one in Rivington Street that's 
her store. The other in Canal Street near the river. That's her den. We've got 
to get in those two places tonight. If we only see Mary for a moment and get 
that information. [Brummage and FranJ^ have their heads down intent on 
the subject and l\e goes past them trying to listen just as Brummage has ut- 
tered the last speech} 

FRANK. Yes, yes. 

BRUM. I am going to one place and I want you to go to the other. You 
can do just what I tell you. I'll write the number of the place in Canal Street 
on this card. [Writes on card] And on this side of it [Turns card over] I'll 
give you a line to the patrolman on the beat. He will know it and will keep 
his eye on you. [Hands card] I will go to the other place. If the girl isn't 
there, I will be in Canal Street almost as soon as you are. We may not save 
the girl, but we may get the information that will save you. \I%e is approach- 
ing the table and trying to listen] 

FRANK. I will not be saved at such a sacrifice. 

BRUM. Never mind the rescue. See the girl [Brummage stops suddenly 
and eyes Ife fixedly. The latter seemingly does not turn his head cowed by 
Brummage' s gaze slinks off hurriedly at bacf(] 

FRANK. Well well why do you stop ? You wanted me to go to Canal 
Street to this old woman 

BRUM. But I don't want you to tell it to that ruffian who has just passed 
us. \Marino f who has been intently watching all this, goes to senator and 
points to Brummage and Fran\. Senator starts and loof(s in their direction] 

BRUM. Wait a moment. Is that sheeney still there? 

FRANK. No. He has gone, but the senator is watching us closely. Does he 
suspect? 

BRUM. Yes, very likely. We have got to act quickly. The girl, if you can 
get to her, will tell you all, and if you can get away with the information, 
we will hang the right person. 



THE GREAT DIAMOND ROBBERY 87 

MAR. [Motioning his head in direction of Brummage] Senator, there's 
your friend the detective, I am sure. 

SEN. [Astonished] Brummage? 

MAR. Yes, and the young fellow with him is startlingly like that young 
fellow Kennet I saw that fatal night at Mr. Bulford's. 

SEN. You don't mean it! He would never dare 

MAR. Tis he. I would swear it. 

SEN. [Amazed] I'll make a bluff and have him taken and spoil Brum- 
mage's game whatever it is. [Senator beckons to Clancy and Brannigan. They 
join him. Senator tal^s to them in dumb show. They sha^e their heads %now- 
ingly and affirmatively. Franf^ and Brummage rise they start towards door 
Li.} 

SEN. Hold on! Both of you! Don't be in a hurry. I want you, see? 

BRUM. Are you talking to me, sir? 

SEN. Well, I am talking straight at you. See. I am on to you! 

BRUM. Sir? 

SEN. Oh, "sir" don't go, I won't have any frills. You are meddlin' in 
something that's my business. [Tapping his breast] And I'm going to call 
you down right here. 

BRUM. You are drunk, sir, and I have no time to waste with you. [Sena- 
tor gets squarely in front of him] 

SEN. You're a liar. What are you doing? Where are you going? 

BRUM. I am going out of that door. 

SEN. Not yet, you ain't. You are going to stay here where my eye is on 
you. 

BRUM. I am going. [Slowly] 

SEN. And I am going to stop you. 

BRUM. Oh, no. Remember you can't stop me tonight. You may tomorrow. 
[Music till curtain] 

SEN. I'll stop both of you now. That man there with you is a murderer. 
[Fran% shudders] And I am going to have him taken in. [Motioning head 
toward Brannigan and Clancy. Brummage looJ(s over his shoulder cynically 
at them] 

BRUM. Touch him if you dare. He is in my charge, by order of the super- 
intendent, and while there, no man can arrest him. I represent the law, and 
don't you dare to put your hands on him. 

SEN. Not a step shall he move until I get an officer. Patsy, Shorty seize 
him. [Patsy and Shorty start to seize fran\; Brummage puts himself be- 
tween them and Fran\ % one hand behind him on his pistol, the other on 
Fran\ r making picture] 



88 EDWARD M. ALFRIEND AND A. C. WHEELER 

BRTJM. Stop! I'll make daylight shine through the man who puts a finger 
on him. 

SEN. [As if to draw pistol] You dog, I'll make an end of you here, and 
now, and I'll take in that murderer. 

BRUM. Draw! I dare you. I am prepared for that. I am doing my duty 
and I shall protect this man unless you kill me. [Places himself between 
senator and his men, shielding 7ran\ completely. Senator and his men ma\e 
picture standing at bay] 

SEN. Damn you if I didn't have a party on my hands tonight, I'd have 
the buttons pulled off of you you infernal hound. 

BRUM. [With intensity and deliberation] Your party will be over by mid- 
night; 111 report to you at twelve o'clock, [Goes to door Li.] You'll have your 
friends around you. That hour will be yourstill then the hours are mine. 
[Arm about Fran\, pistol in hand, forcing way through crowd L.C. They 
give way in fright] 

CURTAIN- 
ACT V. 

SCENE: Canal Street. Exterior of Mother Rosenbaum's house, front scene. Old 
fashioned house, bric\ with green blinds. Alley in drop with practicable door. 
One practical window. Music for rise until curtain is well up. TIME: Nine 
o'cloc\ at night. AT RISE: Old man playing harmonica. Peggy Daly dancing 
to his music. Four boys looking on; they have shinny sticks; clapping hands 
and \eeping time with their feet. Enter Jimmy McCune with girl on his arm. 
She is leading a dog. He wears a silJ^ hat and the girl carries a satchel. 

PEG. [L] Where are you goin', Jimmy McCune, with your consort? 
How's yer sore eyes? 

McC. Don't you gull me, Peggy Daly. Here, take me dorg into the alley. 
I am going down to Lumpy Kidney's. 

PEG. Dere ain't no free lunch at Lumpy's today. [Exit L.I. with dog. 
While they are talking, one of the boys snatches the satchel; Jimmy ma\es a 
dash at him, his hat falls off. Immediately the boys begin playing shinny 
noisily with it, two on a side. Peggy reappears from the alley and finally res- 
cues the hat and gives it to Jimmy] 

McC. I'll make the old woman pay for that. Tell her I'm down to Lumpy 
Kidney's. [Exit L.i. with companion. As he goes off there is a sound of rush- 
ing wheels and a gong. Boys all stride listening attitude and boy No. i shouts] 

BOY No. i. Hi, fellers, there's a fire! 



THE GREAT DIAMOND ROBBERY 89 

BOYS. Fire! Fire! [Exit hurriedly L.I., followed by Peggy. At the same 
time Sheeney Ife comes on R.I., goes to entrance of bric\ house. The blinds 
of practicable window of en cautiously and Mother Rosenbaum's head ap- 
pears with shawl thrown around it. Noise stops here} 

IKE. Is that you? 

Ros. Yes, what's the matter? 

IKE. [Looking guardedly around} There's something up. I just came from 
the Hoffman House. 

Ros. Is the senator all right? 

IKE. He's all right. Where's the gal? 

Ros. I've got her here she's all safe. 

IKE. They are coming for her. 

Ros. Who's coming? 

IKE. A young fellah's coming down here fer to get word from her. I got 
onto it straight in the Hoffman House by listenin'. He's to spot the cop on his 
beat who's a goin' to look out for him. 

Ros. Who's the nice young gendeman who's a comin' to visit the old 
woman? 

IKE. [R. of window} I think it was Brummage was puttin' him up. But I 
steered the senator onto Brummage, and he'll take care of him. What we've 
got to look after, is the other one. 

Ros. And the other one is coming to the pleceman on this beat? 

IKE. That's the way I heard it. 

Ros. And if he don't see the pleceman and comes in 

IKE. Then they'll never know he come. 

Ros. Quick where's Peggy? 

IKE. There she comes she's been down to Lumpy Kidney's. [Pointing to 
L.i. Enter Peggy L.i.} 

Ros. Come here to me and mind what I tell you. [Peggy to window} 
Where's jimmy McCune? 

PEG. He's down to Lumpy's now. [Tafyes a dancing step and hums} 

Ros. Stop that! Go back there and tell him to put on the cop's dress and 
lay for the young man what's a comin* here. Be quick about it. He's to steer 
this young man in here and not let the regular cop see him. Do you under- 
stand? Here's the shield the coat's in the saloon. [Hands out shield} Tell 
him to keep out of the patrolman's sight. Go on aow and if you make a mis- 
take I'll skin you! [Exit Peggy LJ* dancing. To Ife] Go up to Cahill's saloon 
and tell the boys to keep the regular patrolman there till this is over. Here's 
the money. [Gives money] Buy whiskey, will you no wine. Go on and come 
back here I want you. We will give my young friend a chance to see [Music 



90 EDWARD M. ALFRIEND AND A. C. WHEELER 

till she closes window] the old woman at her best. \l\e ta\e$ money and hur- 
riedly exits R.i. Rosenbaum loofe up and down and then closes the shutters. 
Enter Peggy LJ., crosses to R. and exits through door. Enter Franf^ Rennet, 
R.I., loo\s about him] 

FRANK. This must be the place. I wonder if Mary is in that dismal hole 
and I am the cause of her misfortune. My God! She may be dead before this. 
[Wal{s L. and loo^s about} I wonder where I'll find the patrolman. [LooJ(s 
off L.] Thank Heaven, here he comes. [Music tremolo till change of scene. 
Enter McCune, LJ., disguised as policeman. He wal\s guardedly along 
drop. Fran\ advances] Are you the officer on this beat? [McCune assents in- 
articulately] There's a card for you. [Gives card] I want to find Mother 
Rosenbaum's. 

McC. [Pointing to the house] You are right on top of it, see! 

FRANK. Do you understand this card? You are to keep your eye on the 
place if I get inside. 

McC. All right, I won't let go o' you, see! 

FRANK. If I do not come out in twenty minutes 

McC. Fll fetch you. See? This is the way. Here, and I'll introduce you 
meself. See. [Exit McCune followed by Fran\ through door. Dar\ change} 

SCENE 2: Mother 'Rosenbaum's den. A large stone room in a cellar with one 
exit up a practicable swinging steps, C. of rear wall, with practicable door at 
top cut across in C., about eight feet up. On L. of room is a door to closet or 
dar\ room. Room is lit by iron grating. Small pine table extreme L. front , on 
which is a butcher's \nife. Two wooden chairs at table. At extreme R. is a 
trap in 2. closed. DISCOVERED: Mother Rosenbaum seated at table L. Sheeney 
ll$c and Peggy Daly half way down steps, lights down. 

PEG. [On steps] He's got the man they're comin' in. 

Ros. [Seated at table, screaming] Go back to the front window and keep 
your eye out. [Girl stands irresolute a moment. Mother Rosenbaum throws 
\ntfe at her viciously and crosses a little to C. Peggy runs up steps and exits. 
Sheeney Ife pic\s up foife] 

IKE. [R.C. crosses to Mother Rosenbaum] You'd better let me keep it. 
You'll have it into somebody while this fit's on. 

Ros. [Screaming] I'll have it into you if you don't mind your business. 
Give it to me. [She clutches the tyije and goes to table L. I\e shrugs his 
shoulders and relinquishes it] Open that door. [Pointing to door, L.] I put 
some ointment on me beauty's head, and I want to see her. [Comes to C. I\e 
unlocks door and opens it, pulls Mary out roughly. She is poorly dressed, has 
her head bound up and is terrified] 



THE GREAT DIAMOND ROBBERY 91 

MARY. [Crosses to C., shrinking] Do not kill me. 

Ros. [Striding tyiife on table} Kill you, eh? Yes, I kill you easy enough. 
But first tell me who made you play the spy who is he, eh? {Seated at table 
L.] 

MARY. [C.] Let me go. I do not wish to pky the spy. I am a helpless girl. 
[Loof^s about piteously] 

Ros. [Seated at table L., contemptuously} Yes, you are a helpless girl. You 
have some friends, eh? Mebbe they come here and help you. [Laughs bit- 
terly} Who put you up to this? You tell me who it is or maybe I cut it out of 
you this time. [Viciously. Business with knife} 

MARY. You are mistaken. I do not know you. You brought me here your- 
seE 

Ros. You lie! You were looking for the diamonds. You play the maid, eh ? 
You shall play the maid for me. [Rises and crosses to Mary advancing upon 
her} You shall dress my hair. [Clutching fingers} No, I will dress your 
beautiful hair. You have a friend who comes to see you. I will show you what 
I will do to your friend. [Mary shrinks terrified, If^e coming down and throw- 
ing Mary to R.] 

IKE. Oh, don't tear the girl to pieces. We've got enough to attend to with- 
out this. 

Ros. [R.C-, swinging I\e, L.] Don't you interfere maybe I tear you to 
pieces. 

IKE. [Stepping bacJ(\ Oh, well I ain't murdering girls. You'll have the 
whole Central Office swarming over us. 

Ros. [Defiantly} What does Rosenbaum care for the Central Office, you 
sneaking coward? If it was not for Rosenbaum you would be hanged long 
ago. It is Rosenbaum who has defended and released you when they had the 
rope on your neck, because you did what I told you. When you change your 
mind- pif ! away you go. [Goes up and turns} You think Rosenbaum has no 
heart. Yes, you are right because it was torn out of my bosom when they 
killed my beautiful boy. I have lived with no heart waiting for Plon and his 
woman. I have laughed at the police and have bought the judges with my 
stolen money. And now when at last there comes to me Plon's woman^ you 
think I will get my heart back again. Ha ha ! you shall tear to pieces what 
I like. You shall do what Rosenbaum tells you or go like Red Leary and 
Scotty Jack. When you do not what I want you shall hang. [Goes up, music} 

IKE. [Astonished} Plon's woman! Here? Why didn't you say so before. 
[Crosses and seizes Mary. Crosses with her to door L. Half door at head of 
stairs opens and Jimmy McCune in policeman's uniform puts his head in and 
looJ(s down. All start} 



92 EDWARD M. ALFRIEND AND A. C. WHEELER 

Ros. Put her back there. [Pointing to L. Ife seizes Mary and crosses 
with her] 

MARY. [Piteously] Oh, no no anywhere but in there. [Appealingly to 
McCune] Are you an officer? [Ife roughly thrusts her in the dart^ closet and 
closes it] 

Ros. [To McCune] What are you grinning there for, McCune? 

McC. [At head of stairs] De bloke's comin' in here's de card he gave me. 
[Throws down card. Ife fields it up and gives it to Mother Rosenbaum] 

McC. [Looking bact(\ Look out for the steps. [Frani^ appears at door, 
looJ(s down and then slowly descends the steps. McCune leans on the half 
door. If^e up L.] 

FRANK. [Down R.C.] Are you the woman they call Mather Rosenbaum? 

Ros. [Screaming] Shut the door McCune and stay here. 

McC. All right. [McCune starts to shut the door, and gets behind it. 
Brummage, disguised as a policeman, substitutes for McCune. (NOTE: Brum- 
mage and McCune must be made up ali\e, and be of same size and height so 
as to successfully accomplish substitution) Brummage shuts the door and 
comes down steps as if drun\, goes to the extreme upper R. where he sits 
down sideways to the audience on a box. Pie is disregarded by I%e and Mother 
Rosenbaum who are occupied with Franffi 

Ros. [L.C.] Madam Rosenbaum, if you please. 

FRANK. [K.C.] You or some of your friends have a girl that I wish to com- 
municate with. I come to you because 

Ros. You come to me, eh? Mebbe I brought you and you don't get away 
so easy. 

FRANK. It is useless to threaten me for I communicated with the police 
before I came in. 

Ros. [Spitefully] Yes, you tried to. Well, I stopped you. There's the card 
you gave to my man. The piece don't know you're here [Flips the card up to 
him, then up to Brummage. Fran\ fic\s it up with some astonishment} 

FRANK. [Aside] What does this mean? I am trapped. [Goes down JR.] 

Ros. [Up by Brummage, L. of him. To Brummage] Jimmy, he thought 
you was a reglar. I'll have to be payin' you reg'lar salary pretty soon. [Down 
C. Brummage simulates drunkenness] 

FRANK. [Alarmed} Madam, I come here with but one purpose it was to 
see the girl. I only want to speak to her. 

Ros. [Striding \nife on table. Sits] Well, I'm going to let you see her. 
Ikey, bring her out. [Ife goes to closet door, unlocks it, and brings Mary out. 
She puts her hands to her eyes as if the light dazzled her. Sees Franf(\ 

MARY. Frank Kennet! You here? 



THE GREAT DIAMOND ROBBERY 93 

Ros. and IKE. Frank Kennet! [Mother Rosenbaum starts to her feet] 

FRANK. [Advancing to Mary] Mary, my poor girl. What have these mis- 
creants done to you? [Music] 

IKE. [Interposing] Keep back! 

Ros. Frank ha ha. Quick, Ikey, the steps. [Rises and goes down R.C. 
presses button, throws steps up, cuts off retreat by means of a spring in the 
wall; at the same time Mary and Franl^ come together and the girl clings to 
him terrified] So o o, you are Frank. You've been hiding from everybody 
since you killed the old man. Nobody knows you are in New York and no- 
body will miss you and you set out to ruin the old woman. Let me look at 
you. For thirty years they have been trying to ruin Rosenbaum. They killed 
my boy. They put spies in my house. They set the police on me, they dragged 
me into courts. Because I am Rosenbaum. [Goes to table and down L.j 

FRANK. You dastardly wretches you are making a big mistake. 

Ros. Ha ha ha! Rosenbaum makes no mistakes. 

FRANK. Dick Brummage knows where I am. [Music stops] 

Ros. The copper will tell him he didn't see you. If I were to let you run, 
you'd be tryin 9 to prove you didn't kill Mr. Bulford and we couldn't have 
that. [Advances upon Mary slowly R.] And I ain't going to let you run loose. 
[Seizes Mary suddenly by the arms, fulls her^ away from T?ran\ violently and 
thrusts her into chair L. As fran\ attempts to interfere l\e catches hold of 
him behind by arms bac\; struggle; FranJ^ throws him of and the three glare 
at each other. To Mary] Now, you set there and see what we do with men 
who try to ruin the old woman. If you move an inch I'll put this into you. 
[Picfys up foife. Mary drops her head into her hands piteously and shudders] 

FRANK. Hellhounds! If you think you can murder me without a fight for 
it, you've made the mistake of your lives. [Ta^es his coat off and throws it 
behind him. Music] 

MARY. [Half rising] No, no, they will kill you. 

Ros. [Thrusting her bac\ in chair] Set down or I'll settle you first. [I%e 
goes to trap R. and lifts it up (be particular about carpenters attending to 
steps they fall when button is pushed) . Brummage appears to be in drunken 
sleep] 

FRANK. Mary tell me have you anything to say to me what about the 
glass? 

MARY. [L.] Mrs. Bulford threw it out of the window the night of the 
murder and Dr. Livingstone has it. 

Ros, [By Mary, L.] Ha, that settles you when you're both dead, the 
madam will be free. Ikey, open the trap. Jimmy, you drunken dog, get up. 
[To Mary] Now you sit still. [Men struggle up and down the stage and 



94 EDWARD M. ALFRIEND AND A. C. WHEELER 

Frant^ gets the better of Ife. l\e calls on Mother Rosenbaum; women watch 
the fight intently. Mother Rosenbaum goes R. Mary also rises and goes L. and 
thence to steps. The action of the two women must be so timed that Mary 
arrives at the spring in the wall at the same time Mother Rosenbaum reaches 
steps a second after they -fall. Mary touches the spring and they have come 
down with a bang. All three of the group turn sharply around and Mother 
Rosenbaum ma\es two impulsive steps toward Mary and stops undecidedly. 
Mary runs up the steps but the door at the top is locked and she pounds on it 
with her fists. The two men glare at each other] Can [On foot of steps C., to 
Ife] you get away with him? 

IKE. [Struggling with Fran%] Can I? Give me the knife. You take care of 
the girl. [Mother Rosenbaum tosses the foife to l\e. It falls on the floor. 
l\e instantly goes toward Brummage to pic\ it up] 

Ros. Quick, finish him you are man to man and even. [Ife stoops to pic\ 
up the \nije when Brummage leans forward, presenting pistol; stands up 
R.C. above IJ^e] 

BRUM. But what are you going to do with the old man? [Change music 
till curtain. Tableau] How are you going to get away with Dick Brummage? 

TABLEAU. CURTAIN. RING. 

2ND CURTAIN: Mary comes down the steps, stops at bottom. FranJ^ jumps to 
her, they embrace, 
FRANK, Mary! 

ACT VI. 

SCENE: Senator McSor\er's house on Madison Avenue. Music off R^JE. for 
rise. Interior showing handsome corridor and grand staircase C. coming well 
down stage f with lamps at bottom on either side flanged by heavy tropical 
plants. Arcaded entrances to salon L.2., smoking room and hall Rz Guests 
in evening dress standing at salon entrance looking at guests and conversing. 
At rise soft chamber music heard. Burst of laughter from group. TIME: 
Eleven o'cloc\ at night. 

CLANCY. [L.] Yes, if it ain't Lumpy Kidney I hope to die. 

BRANNIGAN. Well, I never expected to see him in a dress coat. He wears it 
like an epileptic fit. Say, boys, there won't be any eating until twelve o'clock. 
Let's go over to the chophouse and get a welsh rarebit. [All come down C.] 

CLAN. Oh, you'll miss the show. He's going to trot out her royal highness. 

BRAN. That's what we're here for. We've got to throw our posies at her. 
It's a go-as-you-please. Grand entrance. Procession of maids. Burst of music . 



THE GREAT DIAMOND ROBBERY 95 

lights up shower of bouquets. Three cheers for the flag and the senator 
on top. 

CLAN. Well, I like it. No invites. No airs no introductions. 

BRAN. Say, if you don't keep your mug shut, I'll shove this into it. You 
act as if you were on Eighth Avenue instead of Madison. De Sixth ain't cele- 
bratin' tonight. [Music stops] 

CLAN. When I get me brudder out of Sing Sing and he's a sheriff, I'm 
agoin' to move on de Fifth meself . 

BRAN. Yes, I hear the whole Sixth is goin* to move up. [Both go to salon 
entrance L.2. Bursts of laughter from guests] 

CLAN. She's a rich widow, I hear, from South America. 

BRAN. Well, what's the matter with havin' her over to the Chowder Club? 
Come, let's go in. [Move toward salon entrance and group themselves. Enter 
Mrs. O'Geogan from Ra. She is fantastically dressed and has a feather fan] 

MRS. O'G. I wonder if the senator calls that a party. It's more like a soree. 
[The male guests laugh and exit R^.] 

BRAN. No, madam, it's a levee. 

MRS. O'G. I thought a levee was something that kept the flood out. 
Where's the cook room? [Going R.C. Enter second heeler] It's yourself that's 
cuttin' a fine shine this evening, Mr. Brannigan, with your shwaller tail. 

BRAN. Oh, I ain't cuttin' no shine. We wuz to hang around the edges for 
a call. But it's all guzzle and munch and no jumpin'. 

MRS. O'G. I have a stick in my mind a soakin' for the senator. 

BRAN. I heered you was on the school board Mrs. O'Geogan. 

MRS. O'G. You did? The same to you Mr. Brannigan. I heard you was 
workin' a reform ticket on the Fourteenth. You'll be goin' to Albany wid 
your shwaller tail, I don't know. [Enter first heeler from R^.. with his coat 
on his arm] 

BRAN. [To second heeler] Say, dere is one of the dry dock tarriers in the 
crowd. We don't want no dry dock tarriers among us gents, do we? 

CLAN. Oh, put your coat on; why can't you act like a gent in a gent's 
crowd and stop for de word before you do any inussin*. 

BRAN. [Putting his coat on] I ken tump him, if it wasn't fer de coat. 
What's the good of our bein' here. \Two heelers cross toward R. When they 
reach R^. they encounter Count Garbiadofi and Madame Mervaine who are 
entering jR.2. Heelers exit R^., Count and Madame Mervaine cross L.] 

MME. M. Thanks, count, it is so close in there that, but for your kind at- 
tention, I should have fainted. 

COUNT. I am only too delighted to be of service to you, madam. You say 
Mr. Brummage asked you to guide me through this strange assemblage. 



96 EDWARD M. ALFRIEND AND A. C. WHEELER 

MME. M. Yes but take care how you mention that name here. [Indicates 
that Mrs. O'Geogan might overhear them; then quickly to Mrs. O'Geogan] 
The senator has all his friends here tonight? 

MRS. O'G. Yis, ma'am. Shure it would be a little more lively if some of 
his inimies were on deck. 

MME. M. Are you one of his friends ? 

MRS. O'G. Of course I amone of his best friends. I knew him when he 
tended bar in Tim O'Shaughnessy's and had to mix drinks in a buttoned up 
coat while I washed his shirt. He's got to be a great dude, has the senator. 

MME. M. Will the lady who is to make the presentation come down those 
stairs ? [Pointing to stairs C.} 

MRS. O'G. Well, I'm thinkin' she wouldn't come down the fire escape, 
with her diamonds and starched skirts. I wonder if that door has a kitchen 
behind it. Sure it's starvin', I am. [Exits Ra. Count and Madame Mervaine 
laugh heartily at Mrs. O'Geogan s remar\ and at her exit] 

COUNT. Is zis ze sort of canaille which your mansions are filled with at 
evening parties? 

MME.M. Oh, count, when you are the guest of an American politician 
you must wonder in silence and endure silently. Fretting about your environ- 
ment is quite out of order. Let's take another stroll and see if we can find Mr. 
Brummage. 

COUNT. Yes, I must find him. [Aside] And I must see zat woman. [They 
exit La. Enter two heelers from Ra. and two college boys} 

2ND H. Break away, here comes de drum corp. [Enter senator L.2. He is 
fussy, anxious and exuberant, followed by several male and female guests} 

SEN. Ah, ha, gents, enjoying yourselves, I hope. Don't forget to go to the 
saylong before the horns go off. I've arranged everything on schedule time 
and that's the signal that the lady's coming downstairs. I don't want you to 
miss it. Have you got your flowers? [Loo%s around at them. The two heelers 
and two college boys raise their bouquets as if to throw them] Stop! All 
right. Don't throw them until she gets at the bottom of the stairs. [Loo\s at 
his watch} Half past eleven. Great success, eh? 

2ND GUEST. Perfecdy paralyzing. Beats the Wild West, senator. 

IST GUEST. Regular coop de-e-tat. [Senator moves fussily toward smo\- 
ing room Ra. loof^s in and calls} 

SEN. Gentlemen everybody in the saylong. The ceremony is about to 
begin. [Loo^s at his watch again. To guests in front of stage} Now then, 
gents all in the saylong. [Male guests move to entrance La. Senator crosses 
to L. and meets Marino, who comes from salon L.2.] Is the lady all ready? 



THE GREAT DIAMOND ROBBERY 97 

[Loofe at his watch] I expect them horns to go off every minute. How does 
she look. 

MAR. Like a goddess she always does, senator. 

SEN. [Slapping Marino on bact(\ Damme! I'll make her the Goddess of 
Liberty. I'll have her walk in roses knee deep. It's going to be the proudest 
moment of her life, my boy. Just go up and see she is ready, will you? 
[Marino goes up stairs and exits. Senator exits into salon L^. followed by 
guests. Coutche-coutche polfo. 'Enter Mrs. O'Geogan Rz. She is noticeably 
under the influence of wine. She carries a large fan and has an elaborate head- 
dress with two feathers} 

MRS. O'G. Oh, my! Oh, my! I've been havin' the greatest toime out there. 
Shure I don't know what's the matter with me. I wuz hungry just now, and 
now I'm loaded with everything good to eat and drink ah! that pink 
stuff in a great glass Christian bowl, with strawberries and pineapple all 
thrown in gratis. And they give it to you for nothin'. They kape fillin' your 
glass whenever it's empty, and just don't give you toime to get thirsty. [Enter 
senator La., approaches her, and goes with great rush. Business, while senator 
is talking to Mrs. O'Geogan, of her leaning forward and bowing her head in 
acknowledgment of what he says, and the headdress feathers tickling his nose 
and face he trying to escape \ It sounds like the Midway of Plaisance, I heard 
at the World's Fair. [Business. Crosses to L and sits on sofa. Business] Oh! 
my, oh, my. Oh, this is like the cable car, without the bumps. 

SEN. [To guests] Mrs. O'Geogan one of my constituents what the devil 
brought her here? 

MRS. O'G. Mister Conductor! Mister Conductor, please let me off at 
Forty-Second Street. [Business. Senator coughs, comes down C. Mrs. Q'Geo- 
gan turns on sofa; sees him, rises, crosses to C., bowing] I'm here, senator, 
I'm here. 

SEN. Yes, I see you are. 

MRS. O'G. How do you like me get up? 

SEN. Gorgeous! Gorgeous! I'm glad to see you on this glorious occasion. 
[Crosses L.C. turns and faces her] The Fourth of July ain't anywhere; music 
fireworks illuminations, beautiful women. And you, Mrs. O'Geogan, are 
queen of beauty and the jewel among women. The Kohinoor ain't in it with 
you. 

MRS. O'G. [R.C.] Oh, thank you. I don't know Mrs. Kohinoor. But, 
senator, I'm wid you every toime. 

SEN. [Shading hands] I know you are, Mrs. O'Geogan. [Aside] How the 
devil am I to get rid of her. [Goes up L.C.] 



98 EDWARD M. ALFRIEND AND A. C WHEELER 

MRS. O'G. Oh, I'll always be wid ye, senator, you are the one man of my 
affeshuns. Come here, sinitor. [Senator comes down to her, L.C.] Mrs. O'- 
Dooley tould me that you are a great flirt. 

SEN. Damn Mrs. O'Dooley. [Goes up L.C.] 

MRS. O'G. [Sings] "You're the only man in all the world for me," etc. 
[Goes up R.C.; business; comes down] Come here, senator. [Senator comes 
down L.C} I can sing better than that if I like. 

SEN. Well, I hope so. 

MRS. O'G. But, senator, I've always loved you. Senator, pardon my blushes. 

SEN. [L.C.] Where did she get it? [Turns away; steps up a little; turns 
facing her] Mrs. O'Geogan have you had something to eat? 

MRS. O'G. Eat, is it? Shure, I've been down in the kitchen to see Mary 
the cook. Shure, Mary's an old friend of mine, and she had an elegant Chris- 
tian bowl full of punch, with strawberries, all floating on the top of it, and I 
helped myself ah, shure I didn't have time to get thirsty. Senator I'm 
loaded. 

SEN. Eh? 

MRS. O'G. Wid the supper wid the supper. Ah! Senator, you keep iligant 
liquors. 

SEN. How d'ye know? 

MRS. O'G. Sure I imbibed- 

SEN. What? [Goes up LJ 

MRS. O'G. I man, I inhaled inhaled the aroma, and I intend to marry 
you 

SEN. [Aside] The devil you do. 

MRS. O'G. With your consent. You are [Business of patting him on the 
face} my love's young dream. [Business} You are so beautiful, so fresh, so 
innocent. [Putting her finger on his chin] You're a daisy. 

SEN. Oh, am I? [She leans her head on his breast; business} 

MRS. O'G. Sure, Mrs. O'Dooley told me. [Putting her face close to his. He 
pushes it gently away. She puts her face to his again] Senator, Mrs. O'Dooley 
tould me [Coutche-coutche polka] 

SEN. Damn Mrs. O'Dooley. [Goes up, listens to music which plays off 
L.2.] That's the way to get rid of her. Mrs. O'Geogan, I know you love music 
and dancing 

MRS. O'G. Love music? The idea. Do you remember when we used to go 
speeling in Walla Walla Hall? Did you ever know an Irish lady that wasn't 
fond of music and dancing? Senator, will you dance a step wid me? 

SEN. What? [Looks off L.2. turns to her] Not on your life. 



THE GREAT DIAMOND ROBBERY 99 

MRS.O'G. Oh, come here, that or nothin'. [She ta\es him by left hand; 
they dance a jew steps toward R., turn facing L.2., dance and exit L.2., 
laughing. Enter Count Garbiadoff and Madame Mervaine R^.] 

MME.M. Mr. Brummage has not come. 

COUNT. Bah the police Americans are what you call ze grande hoom- 
poog. 

MME. M. They are cautious, count. He probably did not want to witness 
this woman's triumph. Be careful, she is coming. If the earth does not open 
and swallow her before she gets to the bottom of the stairs, you will see the 
most magnificent victory of audacity. It was worth coming from Cracow to 
witness! [Enter Marino from top of stairs, comes down past the sofa and 
speaks] 

MAR. The lady is coming. Will you not enter the salon? [Exit Marino into 
salon L.2. Count rubs his glasses with his handkerchief, and leaving the sofa 
goes to stairs, standing off behind the plant. Mrs. Bulford appears at top of 
staircase in full evening dress, bejewelled and attended by maids of honor. 
She holds her head high and wears a triumphant loo\. Guests enter. The 
female guests are bending eagerly forward to see her, count is peering at her 
through his glass behind balustrade. When Mrs. Bulford has reached the 
middle of the stairway t Mary Lavelot suddenly steps out from behind the 
plants on L. of steps and stands li%e a statue under the lamps. At the same 
moment the trumpets are heard flaying a fanfare. She is attired in the same 
dress she wore in Rosenbaum f s den and her head is bound up in the same 
cloth. She is pale and distressed. Mrs. Bulford comes slowly and smilingly 
down steps, chatting and laughing to maids. When she reaches the bottom 
she is suddenly confronted by Mary. Fanfare stops. Mrs. Bulford starts, re- 
covers herself and speaks, the maids forming a tableau of astonishment] 

MRS.B. Who are you? 

MARY. Susanne! 

MRS. B. [Agitatedly] What are you doing here ? 

MARY. Meeting you face to face for the last time. 

MRS. B. [Imperiously] Stand aside. I cannot waste words with rny servants 
now. 

MARY. I have come out of a living grave to confront you in your triumph 
and to tell you that the God of Justice reigns even in New York. I cannot 
stand aside even if I would. [Mrs. Bulford exhibits great distress] 

MRS.B. [Almost at foot of stairs] Who is this lunatic? Why is this out- 
rage permitted? Where is the senator? Where are the police? [Turns 
and lool(s R. Enter Brummage, Rz*] 



ioo EDWARD M. ALFRIEND AND A. C. WHEELER 

BRUM. Madam, the police are here and waiting. [Mrs. Bulford turns her 
head and sees Garbiadoff ^standing a few paces down stage L.] 

MRS.B. GarbiadofiE! [Falls on steps, recovers, starts to go up steps and 
jails backward, falling in the arms of Garbiadoff, who is L. and Brummage 
who is R. Recovers again, goes up steps, struggling with Brummage who is 
holding her by the left wrist] Don't touch me! Let me go! [She is now on 
platform on top of steps] My God! This is the end! [Taking small vial from 
her bosom puts it to her mouth falls and dies. Brummage tyieels by her a 
moment to see if she is dead. Ta\es the vial from her. (Brummage should 
carry a duplicate vial she may lose hers.) Holds it in his right hand. Enter 
Marino quickly from L.2.; he looJ^s about in wonder] 

MAR. What is the matter? 

MME. M. The lady has fainted. 

MAR. Fainted? Impossible! [Rushes upstairs, looJ(s at Mrs. Buljord in 
astonishment. Enter senator, L.2., followed by guests and Mrs. O'Geogan, 
La.] 

SEN. Well, what's the hitch? Where's the lady? Will somebody stop the 
music? [Turning and looking off L^zJE., then turns to stairs again] Where is 
she? [Enter several other male and female guests R.2.] 

MAR. [On top of stairs C] Dead! 

OMNES* [Solemnly] Dead! 

MAR. [Kneeling by his sister] Dead! my God dead! 

BRUM. [Holding up vial] The Para poison! [Senator tafes a step or two 
towards stairs in rage] 

SEN. You damnable dog! [Slight pause] Here, Patsy, Shorty, where are 
you? [Enter L.2., first and second heelers. They come left and right of sena- 
tor. All the guests looking extremely anxious at stairs. Madame Mervaine 
at sofa looking at stairs, Garbiadoff a little above her, all looking to C. in 
suspense] 

BRUM. [Who has come down a step or two holding up his hand authorita- 
tively] Stand back! The lady belongs to the law her diamonds to the 
Count Garbiadoff! [Pointing to the count] Senator, it is twelve o'clock! 
[Mary in Franks arms L., a little above the senator] 

PICTURE 

CURTAIN 



FROM RAGS TO RICHES 
By Charles A. Taylor 



CHARACTERS 

NED NIMBLE, a newsboy who worlds his way from gutter to palace 

ALBERT COOPER, his father under a brand of shame 

OLD MONTGOMERY, a wealthy retired merchant 

PRINCE CHARLIE, a gambler, his nephew 

CHINESE SAM, a dog doctor 

MIKE DOOLEY, a policeman 

BROWN, the merchant's valet 

MOTHER MURPHY, one of the real ol' sort 

FLOSSIE, Ned's sister, who loves excitement 

GERTRUDE CLARK, a trained nurse 

FLORA BRADLEY, a fruit daughter of Eve 

WAITER 

MESSENGER, CAB DRIVERS, DETECTIVES, POLICE, WAITERS, NEWSPAPER MEN, 

SOCIETY GIRLS, POLITICIANS, CIVILIANS 
TIME, The Present 
PLACE, New Yorl^ 

SYNOPSIS OF SCENES 

ACT I. 

Mother Murphy's news stand and coffee counter on the Bowery midnight. 
Ned in poverty and rags. His playground the gutter. Meeting of the pauper 
and the prince. Price of a sister's honor. 

ACT II. 

Library of the merchant's home. Plot to %ill Montgomery. The abduction of 
Flossie. 

ACT III. 

SCENE i. Broadway after darJ^. On the trail of the \idnappers. 
SCENE 2. Room in the Waldorf-Astoria. Ned as a messenger boy. 
SCENE 3. Roof of Waldorf-Astoria. 
SCENE 4: A cellar in Chinatown. At the eleventh hour. 

ACT IV. 

A palace on the Hudson. Ned as a royal host. Blood will tell. That which pays 
best in the end. "On the road to the White House!' 



ACT I. 

On the Bowery midnight. Drop in 3. shows buildings with street in fore- 
ground. Center arch doorway cut in drop; half-high swinging doors attached 
to this doorway. Over and under swinging doors is seen the backing which 
is drinking bar and sideboard with liquor bottles and glasses. Sign over door- 
way, "Concert Hall"; to the right of this doorway is painted a pawnshop; to 
the left a lodging house. Set piece representing El trac^ across stage directly 
in front of drop. Profile electric train: windows illuminated to wor\ bac\ and 
forth on this set piece. Set house representing tenement left. Doorway opening 
upstage backed by practical stairway; hanging lamp over stairway; on tran- 
som over door "19" Lunch counter over which is dilapidated awning up- and 
downstage in front of return piece L. On return piece is painted backing for 
lunch counter coffee urn, cups, plates, pies, ca\es, and so forth. In front of 
counter two wooden stools. End of counter downstage barrel on top of barrel; 
wide board upon which are papers, magazines, and so forth. Sign on front of 
awning, "Mother's Coffee House!' From end of counter upstage to return 
piece L. is small backing with open window. Flat with -flipper wing R. build- 
ing "Chinese quarters" Door opening off stage in 2., sign over door, "Chinese 
Sam, Dog Doctor!' Set lamppost, on which are police, fire-alarm, and mail 
boxes, in front of this door. 

Curtain rises to drinking chorus and thumping of piano offstage in con- 
cert hall. Discovers Flossie, girl of sixteen plain petticoat off angles old 
shirtwaist \itchen apron rose in her hair behind counter wiping coffee 
cups with old linen towel; and MiJ(e policeman middle-age smooth- 
shaven neat uniform Irish character study. 

MIKE. [Enters L.j. as song ends sticks head in window'} Ah, Flossie, 
me darlin', how goes it with you this evening? 

FLOS, It's not evening, Mike, it's morning. The clock struck one. 

MIKE, I haven't struck one tonight, and haven't made an arrest. I never 
saw the Bowery so quiet before. [Crosses to C. Pushes open door and loo%$ 
in Concert Hall. Men and women seen drinking shouts offclintyng of 
glasses] 

FLOS. Stick around and you will find it noisy enough. Have a cup of 
coffee, Mike? 



104 CHARLES A. TAYLOR 

MIKE. [Comes down] No, me darling much obliged. I'm looking for a 
drop of something stronger. Why don't you close up? 

FLOS. I'm waiting for the old woman. 

MIKE. And where is she? 

FLOS. Looking for Ned. 

MIKE. Who gave you the pretty posie that you have in your top-knot? 

FLOS. Me feller. 

MIKE. Truth and you have a hundred. 

FLOS. But this one is the real thing, Mike. He rides in a cab and bought 
all of my papers he dresses swell has a big diamond ring. He told me I 
was pretty and would be a fine lady some day. 

MIKE. Did he tell you anything else? 

FLOS. No, but he said he would when he came back 

MIKE. So he is coming back, is he? 

FLOS. [Nodding] 

MIKE. Well, I don't blame him. 

FLOS. He wanted to take me to ride but I had no one to leave with the 
stand. 

MIKE. What's the matter? Won't it stand up alone? Going to take you 
to ride, is he? If he does I'll give him one in a patrol wagon! Mother Murphy 
should stay home and keep an eye on you. 

FLOS. Don't tell her about the rich fellow, will you, Mike? 

MIKE. I don't know about that. These chaps with fine clothes and pretty 
speeches don't visit this locality looking for wives. You're only a slip of a girl, 
Floss. You're well liked up and down the line and I for one would hate to 
see you go wrong. [Crosses R.I.] 

FLOS. Oh, Mike [C] 

MIKE. What is it? 

FLOS. You ain't mad, are you? 

MIKE. No, but you have worried me. The old woman is a friend of mine- 
she's had a hard struggle to raise you and Ned. Remember you're not her 
children. Yu'd been in the gutter if it hadn't been for her. 

FLOS. We work hard for what little we get. 

MIKE. Yes, but it's a mother's care and good training. That's a whole lot, 
in a rough neighborhood like this. [Exit R.I.] 

ALBERT. [In rough clothes and under influence of liquor, pushed out of 
center door by man in shirt-sleeves and white apron. Reeling down C.] That's 
right when my money's gone throw me into the street much obliged. 
You're a gentlemanI don't think. [Feels pockets] I had it when I went in 



FROM RAGS TO RICHES 105 

oh, well, it's gone like everything else I ever had. [Reels to counter, bal- 
ances himself by stool] 

FLOS. What's the matter, Pop? 

ALB. Don't call me Pop. I'm nobody's papa. Fm a fool 

FLOS. Oh, no you're not. It's only wise men who know when they have 
been foolish. Here's a hot cup of coffee. It will brace you up. 

ALB. [Getting on stool with difficulty} I need it, girl. I can't pay for it. 

FLOS. That's all right pay some other time. 

ALB. They wouldn't stand for that in there. 

FLOS, We don't run that kind of a place. We don't burn as many lights 
as they do. We can afford to be generous here's a sandwich. Mother made 
it for my supper but you can have it. 

ALB. Thank ye, girl. You make me ashamed of myself I ain't had noth- 
ing but whiskey for two days. 

FLOS. Whiskey won't keep you alive. 

ALB. No, but it helps me to forget. 

FLOS. Forget what? 

ALB. The past, my dear, the past helps me forget a little girl that would 
be just about your age if she's alive. 

FLOS. Was she your girl? 

ALB. Yes. 

FLOS. Then why should you wish to forget her? 

ALB. Because she may grow to be like her mother. 

FLOS. I don't understand you. 

ALB. Her mother was bad. She ran away from me, left her two babies 
ruined my life made me a drunkard, an outcast; worse, made me a crimi- 
nal. The prison brand is on me. My children lost to me forever. 

FLOS. Why don't you go home ? 

ALB. I have no home. When I got out of jail, my nQuse was gone, my 
children were gone, all, everything. 

CHARLIE. [In long, stylish ulster, travelling cap, cane and gloves, enters 
L.j. Crosses rapidly to R^.] Chinese Sam, dog doctor. That must be the old 
devil I want. [Pulls envelope out of pocket] Yes, this is the number all right. 

FLOS. [Steps downstage behind counter at Charlie's entrance, places hand 
upon her heart] That's him [Turns and hangs head, walfy] 

CHAR. [Turning L.] Hello there, neighbor who has seen me? I'll square 
myself. [Crosses L.] Hello, Butterfly, you're up late. Time little girls were 
in bed. 

FLOS. You said you was coming back. 

CHAR. Well, Fm here, am I not? [Looking over shoulder at Albert] 



106 CHARLES A. TAYLOR 

ALB. [Engaged with his sandwich and coffee} 

FLOS. Yes, sir. [Sinking down on doorstep} 

CHAR. I see you still have my rose. [Bending over and scenting rose in 
Flossie s hair] 

FLOS. Yes, sir. 

CHAR. Why don't you wear it over your heart? Then I shall place it upon 
your breast. Come, have you a pin? [Removing rose from Flossie's hair] 

FLOS. Please don't. I must go now; mother will be back. 

CHAR. Oh, hang mother. 

FLOS. I don't think you could. 

CHAR. Fat, is she? Well, I'm going soon as I adjust the rose. Are you 
going to give me a pin or maybe you don't want this rose. Oh, very well, 
111 keep it. [Starts to place it in his button-hole] 

FLOS. Yes, yes, here's the pin. [Prices Charlie] 

CHAR. Ouch, you did that on purpose, you little mischief. Will you hold 
still! [Adjusting rose on Flossies shirtwaist] 

FLOS. I didn't mean to prick you honest I didn't. [Loo%s up into Char- 
lies face] Mr. Mr. What's your name? 

CHAR. Call me Prince that's what the boys call me. 

FLOS. And are you a real sure enough prince? 

CHAR. Well, hardly. There now, you must pay me for that rose there. I 
must be going [Catching her by both hands and drawing her to him] 

FLOS. Pay you for it? 

CHAR. Yes> give me a kiss, quick no one's looking. Just one? 

ALB. Hold on there. [Slips from stool, staggers forward] Let that girl 
alone. 

CHAR. [Turning and releasing Flossie] You drunken fool, what right 
have you to interfere? \Flossie enters door L., exits upstairs] 

ALB. No rights. No rights at all, old chap. But I interfered, didn't I? She's 
gone; now run home, sonny, and if you don't well, I'm just drunk enough 
to put up a hell of a good scrap. [Squares off] 

CHAR. [Starts forward with arm drawn bacl^ to stride. Albert suddenly 
pauses, bends down and looks into his face, staggers bac^ Aside] Albert 
Cooper and he doesn't know me. 

ALB. Come on, I'm not bluffing. My head's swimming so I can't see to 
punch straight but I'll fight. 

CHAR. Bah, I'm not fighting drunken men. [Crosses R.] If you don't go 
about your business I'll call an officer and have you locked up. 

ALB. [Staggering to counter] Wish you would. I have no place to sleep 
tonight. 



FROM RAGS TO RICHES 107 

CHAR. He's too drunk to recognize me. I'm in luck. Curse the fellow, I 
thought he was in jail and out of my way. It won't do for us to come to- 
gether just now. There is too much at stake. [Exits into Concert Hall. Mi\e 
enters jrom R.I., crosses behind counter, watches Charlie* Goes up and 
pushes door of en, loo%s after Charlie. Flossie enters from door L., crosses 
behind counter, watches MiJ^e] 

BROWN. [Plain business suit, enters L.J.] Hello, Mike did you catch him? 

MIKE. Hello, Brown, what are you doing here? 

BROWN. I'm after that fellow you're watching [They cross down R.] 

MIKE. Since you retired from the Force, I thought you'd given up watch- 
ing crooks. Who is he? 

BROWN. Don't you know him? 

MIKE. Well, slightly. He poses as a gambler around here. He's known as 
Prince Charlie. 

BROWN. He's the nephew of the man Fm working for. 

MIKE. Old Montgomery, the millionaire? 

BROWN. Yes, and his uncle wants to learn what he does out so late nights. 
You see there's a few hundred thousands coming his way when the old man 
dies. 

MIKE. I see. And the young chap's getting his hand in so he'll learn how 
to spend them. 

BROWN. Hell have none to spend if the old man learns what I know. 

MIKE. I thought you was the old man's valet. So you've turned detective 
again. 

BROWN. For a woman's sake, Mike. One that this man ruined and cast 
off took from her husband and children, left them to die in the public 
hospital. 

MIKE. Your heart was right when you was on the Force. Tell me more of 
this affair you'll find I'm with you. Come, we'll keep an eye on the Prince. 
[Crosses up with Brown through open door. They exit R.j. talking in by- 
play] 

ALB. Don't blame you for being angry, little girl. But somehow I felt 
that chap didn't mean right by you. 

FLOS. They all get fresh if you give them half a chance. Men are all alike. 
[Sighs] But he seemed different than the rest. He said this rose reminded him 
of me. [Crosses downstage end of counter] 

ALB. Let me see it. [Flossie removes a rose from her dress, pisses it and 
hands it to Albert] 

ALB. [Inspecting flower] Pure white and a bud. Came from Bushman's 
and cost a dollar, I'll wager. Hum, buds like this one don't blossom in the 



io8 CHARLES A. TAYLOR 

'hands of men like he is, my dear. They wither and decay. Killed by frosts of 
infidelity. [His head jails on his breast and the flower jails from his hand] 

FLOS. [Springing forward and picking up rose] Oh, sir, you have crushed 
my rose. 

ALB. Pardon me, little girl, I was thinking of my wife. You'll forgive me, 
won't you ? [Places his hand on Flossies head, wiping eyes with sleeve] 

FLOS. [Burying her face in the flower] Yes, I'll forgive you because there 
are tears in your eyes. I know a big man like you don't cry unless he's had a 
lot of trouble. See, I'm going to give you this rose. I will pin it right here on 
your coat. Then when you look at it you will remember someone cares for 
you, and you won't drink any more, will you? There, when you find your 
own little girl [Pins rose on Albert's coat] you can give her the rose. 

ALB. Thanks, child. You have put new life in me. Some day I'll come 
back here and hunt you up. Show you what a few kind words and a gen- 
erous act will do for a man who is down on his luck. [Crosses to R] From 
this night on I give you my promise I will keep clear of places like that. 
[Points to Concert Hall and exits R.I. Laughter, shouts, and clinging of 
glasses in Concert Hall] 

MOTHER MURPHY. [Stout good-natured Irish woman with shawl over her 
head, carrying a baseball bat, enters R^] Flossie I say, Floss where the 
devil are you? Oh, there you are. What are them dirty dishes doing on the 
counter? Why don't you close up shop and go to bed? The Raines Law Com- 
mittee will have us pinched for selling mint juleps after twelve o'clock at 
midnight. Is that brother of yours home yet? If I lay hands on him, I'll break 
this baseball bat across the soles of his two feet. What are you snivelling 
about? Has there been any of that Chatham Square gang around here mak- 
ing googlum eyes at yees ? 

FLOS. No, ma'am, I'm not crying. 

MOTH. Then why are you wiping your nose on that dish towel? 

MIKE. [Enters R.J.] Ah, Mother, so you've got home at last. Did you 
find Ned? 

MOTH. Find him you might as well look for a hole in the bottom of the 
East River. 

MIKE, He'll come home all right. He's probably up around the Broadway 
Cafe, trying to get a few more pennies with his extras. Ned's a hustler. 

MOTH. Yes, he'll work himself to death. I have to tie him in bed or he'd 
be on the street all the time. He's that way ever since I got him. Have some 
coffee, Mike. [Crosses behind counter, draws coffee] 

MIKE. Thanks don't care if I do. Did you ever try to look up the parents 
of these children? \Plossie crosses down and sits on doorstep JL] 



FROM RAGS TO RICHES 109 

MOTH. What rime have I to look them up? It's a bustle to live. An old 
merchant who I used to scrub for down on Broome Street brought them to 
me when they was babies and told me he'd pay for their keep. Then he 
moved and I moved. It was a game of checkers between us, but they got 
into my king row and 'twas all off. I'm thinking it's the lad's move now. 
They do be saying, Mike, it's a wise child that can find his own father. 

MIKE. Ned will find his if he's on earth. [Chinaman Sam, in blue blouse, 
smoking Chinese pipe,, enters Ra. Stands in doorway smoking] 

MIKE. What kind of joint does that fellow run? [Pointing to Chinf(\ 

MOTH. Who, the Chineser? That's me neighbor with the slanting eye. 
They do be saying he's a doctor but begorra I think he's a rat catcher. He 
must have swallowed one and the tail is growing out behind his head. 

MIKE. His sign says he's a dog doctor. Do you ever see any dogs around 
here? 

MOTH. Yes, two-legged dogs. Lots of 'em. And some of 'em wears petti- 
coats. Hist, Mike, I think it's what you call a joint. Get an order from head- 
quarters to raid it, Mike, and I'll give you free coffee for a month. 

MIKE. Will you sign a complaint, Mother? [Crosses RjJ\ 

MOTH. Faith, Mike, and you know I can't sign my name. But I'll put 
my cross on that Chink the night of the wake. \Mi\e exits R.I. El train from 
L. to R. Shouts from Concert Hall] 

CHAR. [Enters from Concert Hall. Loo\s down and L. Crosses to RJI. 
Chinaman bows low, pushes open door. Charlie hesitates, sees Mother, crosses 
rapidly to counter L., throws leg over stool] Give me a cup of black coffee. 
[Flossie loof(s up from step as Mother's bacJ^ is turned drawing coffee 
shades finger at Charlie. Places a finger on her lips] 

MOTH. There you are, sir something else? 

CHAR. No, thanks. When do you close up? 

MOTH. This blessed minute, if me boy comes home. 

CHAR. Then you have a boy to support? 

MOTH. Yes, and a girl too. [Pointing to Flossie] She's more trouble than 
the boy. 

CHAR. Why don't you find her a good husband? 

MOTH. A husband? Faith, man, she's only a child. Stand up, Flossie, and 
show the gentleman how tall you be. [Flossie arises, hangs her head} 

CHAR. [Steps around end of counter] Why she is quite a young lady. I'd 
give a good deal to have a girl like that. 

MOTH. Have you no children of your own? 

CHAR. Well, no. You see I have plenty of money and a beautiful house 
but no children. 



no CHARLES A. TAYLOR 

MOTH. What will you give for mine? You can have the boy and the girl 
it you give them a good home. You see I'm only a poor woman and this is 
no place for them. 

CHAR. Well, really, I can't say. I've never seen the boy, you know. But the 
girFs appearance pleases me very much. My wife and I may drive down 
tomorrow and take her to our house for the afternoon. Then we will talk 
the matter over. [Flossie turns and starts as Charlie says "My wife" but he 
winfy and she again bows her head] 

MOTH. How about that, Floss ? Would you like to go with the gentleman 
tomorrow? 

FLOS. Yes, ma'am. 

MOTH. But how do I know who you are, sir? Where is it you live? 

CHAR. My home is on West End Avenue. My name is there is my card. 

MOTH. Thank you, sir. I guess you mean well by my girl. I will talk the 
matter over with her brother. He is younger than she is, but he's a good boy 
and the man of the house. He may go with her. 

CHAR. Oh, the boy may come some other time. There is only room for 
three in the cab. 

FLOS. Two's company and three is a crowd. 

CHAR. There is the pay for your coffee. I must be going. I will call for the 
girl at ten tomorrow. [Lays bill on counter] 

MOTH. Sir, this is twenty dollars, I have no change for that. 

CHAR. You seem to be a hard-working woman and as I have plenty of 
money you are welcome to the change. And, by the way, I wish to give the 
child a gift to remember me by [Removing ring from his little finger, step- 
ping forward and taking Flosste f s hand] This ring should just about fit her 
slender fingers. It is too small for mine. [Slips ring on Flossie's fourth finger] 

FLOS. Look, mother, it's a diamond. A real sure-enough diamond! Isn't 
it beautiful? [Kissing it, crosses R.~\ It's an engagement ring. He placed it on 
my fourth finger. Oh, I'm so happy I could cry. [Wiping eyes with apron, 
rubbing ring and pissing it R.] 

MOTH. Do hear how that child goes on. Don't mind what she says, sir, 
you'll be spoiling her. [Crosses C.] Engagement ring, you goose, the gentle- 
man has a wife of his own. He's old enough to be your father. 

CHAR. Yes, certainly, [ Winding at Flossie, crosses R.C.] 

FLOS. Oh, yes. I forgot I'm to be his little girl. 

NED. [Enters R.j. Ragged cap and coat, bundles of extras under his arm. 
Comes down to center, looJ(s from one to the other] What's up, mother? 
What makes you all look so happy? Someone bought all your papers? 



FROM RAGS TO RICHES in 

MOTH. That's him, sir. That's my boy. See, I bought him a nice baseball 
bat today, and he never came home to get it. [Holding up bat and winding 
at Flossie] 

CHAR. How do you do, my lad? What's your name? [Shades hands with 
Ned] 

NED. My name is Ned, sir. The newsboys call me Ned Nimble because I 
move around and sell more papers than they do. Give us your hand again, 
sir 

CHAR. Certainly, what's the matter? [Offers hand to Ned] 

NED. I didn't like the grip you gave me last time. 

CHAR. The grip? Oh, I see you're a Mason. 

NED. No, I'm only a newsboy, but when a man shakes with me I don't 
want to feel that half-hearted squeeze as if he was shaking dice. Give me a 
good, hard grip, then I know you're right. My hands will stand it. They have 
seen plenty of honest work. [They sha^e again] That's right. Now 111 hear 
what you've got to say. 

MOTH. Don't mind him, sir. He has the airs of a man. 

CHAR. [Aside] Yes, and the impudence of the Devil. [Aloud] I suppose 
Ned will be a politician some day and run for office. Then he'll change his 
mind about handshakes. 

NED. If I ever do get to the White House it will be hands of the working 
man that shakes mine. 

FLOS. See, Ned, what the gentleman gave me. [Removing ring and hand- 
ing it to Ned] 

NED. What is it? A rhinestone? I wonder how much you could get on 
it. [Blowing it and examining stone as an expert] 

MOTH. Yes, Ned, and he gave me twenty dollars. 

CHAR. That's right, Ned, I mustn't forget you [Pulling roll of bills out 
of pocket] 

NED. Hold on, partner. Put that back. I've got to earn mine [Crosses 
L] What did you give the gentleman in return for twenty dollars, mother? 
Have you sold the stand? 

MOTH. No, Ned I gave him a cup of coffee. 

NED. A cup of coffee. And you, Flo, what did you give him for this ring? 
That stone is a full-carat diamond. 

FLOS. Why, you see, I Imother, you tell him. 

CHAR. That's all right, Ned. It's only a trifle. It don't amount to much. 

NED. It amounts to a good deal to us, sir; we are very poor. 



ii2 CHARLES A. TAYLOR 

CHAR. I know, and I am willing to help you. I've taken quite a fancy to 
your sister and I 

MOTH. He's going to take her to his house tomorrow, Ned, a fine, swell 
mansion of West Avenue. 

NED. Take Flo to his house? 

CHAR. Yes, just for dinner and an informal call, that's all, Ned. 

NED. Are you married? 

CHAR. Don't I look it? 

NED. That's not answering my question. 

CHAR. Certainly. I have a very beautiful wife. [Winding as he crosses to 
Flossie] 

NED. Then you should go home to her, instead of hanging around here 
making presents of diamonds to my sister. 

MOTH. Ned, how dare you speak like that ? 

CHAR. The boy is insulting. 

MOTH. Ned! Go up to bed, sir, or 111 take this bat to you. 

NED. Ill not go to bed, mother, 'till this man leaves. Give me that money 
he gave you. Give it to me, I say [Snatching bill from mother] There is 
your money and your ring, sir. I'm sorry if you think me rude but we can't 
accept them. 

CHAR. No, no, Ned. Don't get mad. You don't understand. I've made 
arrangements to adopt your sister and you also. 

NED. Adopt us? 

MOTH. Yes, Ned, that's right. 

FLOS. Yes, yes, Ned. We are to be rich. 

NED. Rich at what price? How can this man adopt us? Before God we 
are your children till we find our own parents. Mother, this man is not what 
he claims he is. 

CHAR. You street arab! I've had enough of your insolence. How dare you 
speak to me like that! 

NED. Because it's the truth. I've seen you in the gambling houses of the 
lower Bowery; at the race track, with fast women. Mother and I battle the 
world day and night to support our home in poverty. But if we are compelled 
to purchase riches at the cost of my sister's honor, we'll remain in rags all the 
rest of our lives Go [Hurls money and ring at Charlie, who stoops and 
pic\s them up, crosses L.J., turns and doffs his hat. Flossie starts toward 
Charlie. Ned catches her hand and swings her left into Mother's arms, stands 
between them with arm uplifted. Enter Mi\e and Brown jR.j. People from 
Concert Hall and Chinese crowd out of doorway C.] 



FROM RAGS TO RICHES 113 

ACT II. 

Library of the merchant's home. Next day. Arch doorway R.C. conservatory 
backing. Arch doorway L.C. plain hall backing. Hat rac\ with mirror 
against hall backing. Heavy portiere arch doorway L.C. Door opening off 
R^., plain chamber backing. Door opening off L.2., plain chamber backing. 
Fireplace and mantel L.j. Armchair before fireplace; ottoman, cushion and 
so forth. Plain leather couch, R. corner. Chair, foot of couch. Plain flat-top 
office table, partway C. Chairs behind and R. of table. Plain small table, down 
L., containing water pitcher. Glasses, medicine bottles, and so forth. Booths, 
ivriting material, on table Center. Chair, R. and L. of arch doorway L.C. 
Bacf^ wall painted to represent bookcases. Pedestals, stationery, bric-a-brac, 
plant, potted palms, maps and so forth. Sunlight in conservatory. Blue, hall- 
way. Red glow in fireplace. Lights full up at rise. 

BROWN. [Enters L.C. at rise. Hangs hat on rac\, comes down to table, pic\s 
up packages of mail, runs it over] Here's the morning mail unopened 
proves the old man's not up. I'm in luck. I learned enough about his 
rogue of a nephew last night to write a novel. What will he say when he learns 
that the woman who poses here in luxury as Charles Montgomery's wife is 
only an adventuress. Here is a letter for her now "Mrs. Montgomery" the 
brazen huzzy! It bears the trademark of Powell and Mason, the wholesale 
drug firm. Now what does she want with drugs? Can she be responsible for 
the old man's sinking spells I've learned enough to warrant further investi- 
gation. I'll look this over. [Puts letter in pocket] 

GERTRUDE. [Enters La. Handsome, middle-aged woman as nurse. Dressed 
in blacl^, white cap and cuffs, small lace apron. She has smoked glass goggles 
that disguise her face. Over one arm a blanket, bottle and spoon in other. 
Lays bottle and spoon on small table throws rug over armchair} Good 
morning, Brown. 

BROWN. Good morning, Miss Clark. How's the old man? 

GERT. He passed a bad night, Brown. He asked for you several times. 

BROWN. He gave me permission to go. 

GERT. Yes, I know. But he wants either you or I with him all the time. 
He grows weaker every day. He is suspicious of everyone else. 

BROWN. I don't blame him. Did it ever occur to you, Miss Clark, that 
someone might wish to hasten the old man's end ? 

GERT. You mean his nephew? 

BROWN. Yes, and that woman who poses as his wife. [Pointing to door 



ii4 CHARLES A. TAYLOR 

GERT. No, no. I can't believe Charlie is as bad as that. [Sinking into 
chair C. f removing glasses, wiping eyes] 

BROWN. Not after the wrong he done you? Why a man who would ruin 
a woman's life as he did yours would be guilty of most any crime. 

GERT. Silence, Brown. They must not know. I need this humble position 
I fill. Need it badly. Did they know who I was I would be out into the street. 

BROWN. You have more right here than she has, and I don't believe Mr. 
Montgomery would turn you out. You have been too kind and good to him, 
Gertrude. Pardon me, I mean Miss Clark. 

GERT. Call me Gertrude if you wish, Brown. One name is as good as 
another to me. They are both false false as I am. [Crosses R.] 

BROWN. Why don't you go to Mr. Montgomery and tell him all? 

GERT. No, no, Brown. I am afraid. 

BROWN. I've learned things about his nephew that he shall know, and I 
mean to stick by you, little woman, through everything. 

GERT. Thank you, Brown you've been a friend. God bless you for it. 

BROWN. I would be more no matter what your past has been. I love you. 

GERT. No, no. Not that, Brown. Let us remain as we are. Remember I am 
a wife and a mother. 

BROWN. Yes, but your husband is a convict in prison, and your children 
lost to you forever. 

GERT. Don't say that, Brown. Every hour of my life I pray for their return. 

BROWN. Suppose I could place them once more in your arms. What then, 
Gertie? 

GERT. What are you saying, Arthur? Are you jesting with me? Speak, 
man! You know something, you have found them my little girl and my 
baby boy? [Sinking upon her tyiees sobbing] 

BROWN. Hush, Gertie- don't take on like that. We'll be heard. I don't 
wish to raise your hopes, but {Raising her to her feet] I'm on a clue that 
promises great results. Have courage, little woman. Fate had some object in 
placing you in the home of the man who ruined your life. 

GERT. I expect every day that Charles Montgomery will recognize and 
kill me I'm careful that he never sees me without my glasses. 

BROWN. All the more reason to tell his uncle the truth and have him 
punished. 

MONTGOMERY. [Off La.} Brown, oh, Brown. Is that you? 

BROWN. There's the old man now. 

MONT. [Off L.2.] Brown 

BROWN. Yes, sir I'm coming. [Crosses to door L.2.] Give me that mail 
quick. [Gertrude gathers mail from table, runs with it to Brown. Business. 



FROM RAGS TO RICHES 115 

Brown \eeps dropping papers and letters as Gertrude pic%s them up. Exits 
L*.] 

FLORA. {Enters R^. in handsome morning gown} Good morning, Ger- 
trude. Is my uncle better this morning? 

GERT. [Bending over small table L. and adjusting her glasses} No, ma'am, 
he seems much weaker. 

FLOR. Has his valet returned? 

GERT. Yes, ma'am, he's with him now. 

FLOR. Did you see a letter for me on the table? [Looking on table] 

GERT. No, ma'am. 

FLOR. Strange, I expected one. [Walking to conservatory JR.C.] Get my 
uncle's wheeling chair ready, Gertrude. You will need to change the pillows. 
[Crosses to table C.] 

GERT. [Picking up bottle and crossing C.] I must give Mr, Montgomery 
his medicine when his bath is over. 

FLOR. I will attend to that. You may go. Do as I tell you. [Gertrude sets 
bottle on table, exits R.C. Flora pic\s up bottle, shades it, removes stopper, 
applies her nostrils] This is not strong enough. It's too slow, all together too 
slow. If I only dared use something more powerful. With this I shall never 
be found out. {Charlie enters L.C. Removes hat and coat. Tosses them to 
butler who hangs them on rac\ and retires, flora crosses L., sits on arm of 
chair before fire] Prince Charlie comes home to his little wife when he has 
no place else to go. 

CHAR. You are right, Flo, always right. Where's the old man? 

FLOR. Not up yet, my dear boy indisposed as it were. It is about time he 
had his drops. [Crosses to table C. and pic\s up bottle] 

CHAR. [Clutching bottle and taking it from Flora] You avarice-, money- 
crazed cat, you have no more heart than a stone. 

FLOR. I might say the same of you, my dear Prince, but I wouldn't be so 
unladylike did you get what I sent you for? 

CHAR. No. 

FLOR. Why didn't you ? 

CHAR. Because I will not be a party to your hellish plot. 

FLOR. You are a coward, Prince. You are willing I should stay here and 
take the risk. When it's all over you will lay back in luxury and try and con- 
vince your conscience you are innocent. 

CHAR. Where's the nurse her eyes seem always on me. 

FLOR. We are alone, my dear have no fear. 

CHAR. Flo, if the old man knew you were not my wife he'd cut me off 
without a penny. 



n6 CHARLES A. TAYLOR 

FLOR. That's just why the sooner it's over the better. This won't do. 
[Handling bottle] That Chinese doctor I sent you to can give me what I 
want. Did you see him? 

CHAR. No, I didn't get a chance. 

FLOR. It's only an opium pellet, Charlie. It will leave no trace to betray 
us. Your uncle is dying now with aneurism of the heart. It is only a question 
of a few weeks or months at most. In that time he may learn the truth and 
cast us into the street. I can't go back to the old life in the dance halls, and 
what would you do without money? 

CHAR. I know that, Flo, but it would be murder. My God, woman, what 
are you asking me to do? We may be found out, go to the electric chair. No, 
no, you're a fiend from hell! Go 'way from me. I don't know why I ever 
brought you here. [Gertrude with wheeling chair enters R.C. Stands in con- 
servatory near doorway] 

FLOR. To pawn me off on your uncle as the wife of Albert Cooper, the 
man you wronged and sent to prison for a crime committed by yourself. 

CHAR. Stop, Flo, for God's sake. Someone will hear. Do you want to ruin 
every chance we have to live a better life? [Gertrude reels bac\ as if fainting. 
Clutches handle of wheeling chair, supports herself, turns her bac](\ What's 
that? [Turns suddenly, sees Gertrude adjusting pillows in chair as if she 
has not heard] 

FLOR. That prying, pale-faced nurse. She's always about when not 
wanted; Gertrude Gertrude, are you deaf? You may go. 

GERT. Yes, ma'am. [Bows low and exits R.C.] 

FLOR. Don't look so scared. She didn't hear you. Are you going to get that 
for me? Or must I go to Chinatown? 

CHAR. Go to hell for all I care. 

FLOR. If I do you'll open the door for me. See here, "my dear husband in 
name only," there is no love lost between you and I. It's a cold business 
proposition of dollars and cents. Your uncle injects enough morphine into 
his veins every day to kill ten ordinary men. So much for habit; his system 
is filled with it. Opium is the same drug in another form. My friend the Dog 
Doctor compounds it to put crippled Chinamen out of the world without 
pain. Now what is twenty-four hours more or less in a man's life? You could 
hardly call an act of humanity by such a cruel name as was whispered here 
a moment ago. 

CHAR. Enough! If I do this for you, will you do something for me? 

FLOR. I think I am doing a great deal for you. 

CHAR. There is a young girl I want, down in the Bowery. She is hardly 
of age yet and we must be careful. 



FROM RAGS TO RICHES 117 

FLOR. Oh, you hard-hearted man! So I am to take second place? And 
where are you to pitch her wigwam? 

CHAR. I leave that to you, Flo. Is it a go? 

FLOR. Yes, there is my hand. No use fighting, Charlie. We've too much 
at stake. If we pull a double oar we will reach the shores o wealth. 

CHAR. Yes, or land in jail. Get dressed and we'll go for a ride. I don't feel 
like meeting the old man just now. [Exits L.C. with hat} 

FLOR. [Follows to L.C., loo\s after him, laughs and shrugs shoulders} 
Poor weak miserable fool, how I abhor him. [Crosses down C} And yet he 
placed me where I am. Was it not for him I would be in the lowest dives of 
this city today. Why have I no gratitude; why have I no heart? [Picking up 
bottle} Ask the men who have made me what I am. [Brown and Montgom- 
ery enter L.2., Montgomery a refined old gent, white hair, dressing-gown, 
wal%s with cane and leans on Brown} 

MONT. Careful, Brown, careful. My old heart is thumping like a trip- 
hammer. Where is my nurse? Where is Gertrude? [Brown leads Montgom- 
ery to chair before fire, assists him to seat} 

FLOR. I'm to be your nurse this morning, uncle. Miss Clark stepped out 
for a few moments. 

MONT. I don't want you, I want Gertrude. It's time for my hypodermic 
and drops. [Rolling bac\ sleeve of his right arm} See the scars on my arm, 
Brown, hardly a place can I find to insert the needle. 

BROWN. Don't excite yourself, sir. I will administer the morphine. [ Crosses 
up to small table} 

MONT. Send that woman away. She annoys me. 

FLOR. Now, uncle, don't be cross with me this morning. [Pats old man's 
head, puts arm around nec1(\ I'm so sorry, so very, very, sorry for you. Won't 
you let me be your litde nurse? See what a nice nosegay I picked for you this 
morning. [TaJ^es flowers from bosom and pins on old man's gown} 

MONT. Flowers, bah! [Pulls off flowers, throws them on floor} Save them 
for my coffin. I want my drops; bring my drops. 

FLOR. [Pic\s up nosegay; crosses to table, returns with bottle and spoon, 
pours out drops, offers to Montgomery} Here they are, uncle. 

MONT. I've changed my mind. Bring me whiskey. If I'm to die I might 
as well have my old hide filled with rum. Morphine, Brown, the morphine! 
What are you doing, man? You are slower than Balaam's ass. [Lays bac\ in 
chair, throws his naJ(ed arm across his breast and clutches at his heart} 

BROWN. [Who has filed syringe from vial at small table; crosses up and 
after trying flesh several places on old mans arm, injects high up} Steady, 



ii8 CHARLES A. TAYLOR 

now easy you will soon be yourself. [Flora has staggered bac\ to table 
center with bottle and spoon and watches the above li\e a hawl(\ 

MONT. [Gives sigh of relief] God bless you, Brown. That's a great relief. 
Heaven don't seem so far away as it did a moment ago. Flora, go get your 
marriage certificate. You promised to show it to me time and time again. 
Now I want to see it. 

FLOR. Yes, uncle, I'll go and search for it. I told you I mislaid it. 

MONT. Well, don't come back till you've found it. 

FLOR. [Aside] Old fool he'll soon forget. [Exits Rz., slams door] 

MONT. My, that woman has a temper, Brown. She's a bad one. Did I 
believe what you told me I'd turn her out. 

BROWN. It's the truth. I'm going to furnish you with proofs today. 

MONT. You say that my nurse, Miss Clark, is the wife Charlie took from 
Albert Cooper fourteen years ago? 

BROWN. Yes. I believe I have found the children. I have arranged to have 
them brought here today. You can question them yourself. 

MONT. The unprincipled rogue. He has disgraced the name he bears. I 
have put up with him long enough. Send Miss Clark to me. 

BROWN. Don't tell her of the children till we are sure they are hers. 
[Crosses to R.C.] 

MONT. Oh, Brown. 

BROWN. Yes, sir. 

MONT. Have you sent for the plumber to look over the sanitary conditions 
of my bathroom? It annoys me. 

BROWN. Yes, sir. He should be here now. [Exits R.C.] 

CHAR. [Enters L.C.] Are you feeling well this morning? 

MONT. Well enough to talk business with you. Your bank account is 
overdrawn. 

CHAR. I know it. You keep me down to cases. 

MONT. I'll keep you down to day labor if you're not careful, young man. 
Where were you last night? 

CHAR. At the club. 

MONT. You're a liar. 

CHAR. Uncle, you forget yourself. 

MONT, Silence, sir. I want you to find Albert Cooper. 

CHAR. [Aside] My God, does he know? [Aloud] Albert Cooper is dead, 
uncle. I've told you that repeatedly. How could I have married his wife were 
he alive? He was shot down while escaping from prison, years ago. He died 
in the hospital and was buried in potters' field. 



FROM RAGS TO RICHES 119 

BROWN. [Enters R.C.] The plumber has sent his apprentice. He's a new 
man, shall I let him come in? 

MONT. Yes, send him in. [Albert, dressed in overalls, with plumber's 
tools, enters R.C. at signal from Brown] 

BROWN. Right this way, my man. [Crosses to jL.2., opens door. Charlie 
staggers down C.> clutches edge of table f turning his bac\ to Albert. Albert 
bows, crosses behind Charlie, exit L.2. and throws down tools off L.] 

BROWN. Miss Clark is waiting to see you, sir. 

MONT. Let her come in. [Brown exits JR.C.] Charlie, you may go; I will 
talk with you some other time. If Cooper is dead his children must be found 
and justice done them before I die. [Charlie crosses rapidly to La. f opens 
door a little, loo\s off] 

MONT. What are you doing there now? 

CHAR. Watching your plumber. He looks like a sneak thief. Better get 
him out of here as soon as possible. [Gertrude enters R.C., goes down C., 
bows head] 

MONT. Never mind him. Leave me, I have something to say to Miss 
Clark. [Charlie turns, bows low to Gertrude and exits L.C.] 

GERT. You sent for me, sir? 

MONT. Yes, come over here beside me where I can see your face. [Ger- 
trude sits on ottoman at Montgomery's feet. Removes her glasses and \eeps 
them off throughout the scene] 

MONT. I'm good-natured now. The morphine is in my veins. I'm not 
going to scold you. 

GERT. . You never scold me, sir. 

MONT. No, because you're kind to me; you know your business. Gertrude, 
you've been faithful to me; a loyal, patient nurse. I shall provide for you in 
my will. 

GERT. I expected no reward, Mr. Montgomery. 

MONT. I know that. I have learned that this woman he calls his wife is 
an adventuress. It was you, Albert Cooper's wife, whom I believed I was 
aiding all these years. I tried to avoid disgrace, and at the same time aid the 
family my nephew ruined. He told me Cooper was dead, that he had married 
his widow. I forgave him for that and searched for the children. 

GERT. Yes, yes, my children, where are they? Oh, sir, I have suffered 
more than human heart can bear. When I got out of the hospital where he 
left me to die, my babies were gone, my health was gone. I had lost my hair; 
I was so changed no one knew me. Then they took me back as a nurse. That 
is how you came to get me, sir. 



120 CHARLES A. TAYLOR 

MONT. It must have been the Almighty who sent you, Gertrude, and if 
suffering can atone for sin, there may be light yet for both of us. I am 
stricken with death, have but a few days to live, but before I die I want to 
see the little family so cruelly separated by my nephew once more united. 

BROWN. [Enters R.C.] The parties I spoke of are here, sir. Will I wheel 
you in the garden to see them, or shall I have them come in? 

MONT. Gertrude, you go and see the maid keeps her eye on that fellow 
in the bathroom. I will send for you when I'm done with these people. 

GERT. Oh, my heart seems to be bursting with joy, Mr. Montgomery; 
your kind words give me new life new hopes. [Places arm about old man's 
nec\ and losses him. They are both in tears. She hastens to exit L.2., wiping 
her eyes with handkerchief. She screams offstage, reels bac\, clutching at her 
bosom and looking off L.] 

MONT. What's the matter, Gertrude? 

GERT. That man, sir! 

MONT. Didn't you know he was there? 

GERT. [Slowly shades her head. Hammering upon metal heard off L. f Ger- 
trude pushes door slowly open again. Her lips move in a -frightened whisper] 
No, no, it can't be, it can't be! 

MONT. What are you frightened about, Gertrude? 

GERT. [Crosses rapidly to Montgomery] Oh, Mr. Montgomery, that man 
in your apartments! There is something about him reminds me of Albert. 

MONT. Nothing but your nerves, my girl. He's only a poor, harmless 
plumber. Run on now and see that he doesn't charge me for anything he's 
not doing. [Gertrude adjusts her glasses and exits La. Ned and Flossie enter 
R.C. in store clothes, badly worn but tidy. They enter hand in hand, and 
approach Montgomery, timidly looking all about. Mother Murphy follows 
them on R.C., wears green bonnet, plaid shawl, and stands C. Brown and 
Mil(e, in uniform, follow Mother on R.C. and stand in doorway] 

NED. This certainly is a swell joint, and that's no idle dream. 

FLOS. Ned, look at the gold handle on the coal shovel. 

NED. See the big pair of curling-irons beside 'em! [Pointing to tongs and 
brass-handled shovel on the hearth] 

MOTH. I must be in one of those dreams people get after eating mince pie. 

MONT. Are these the children, Brown? 

BROWN. Yes, sir, and this is the good woman who has cared for them. 

MOTH. Top of the mornin' to you, sir. 

MONT. Is this Mrs. Murphy ? 

MOTH. It is. Mother Murphy, as I'm known on the Bowery, sir. 

MONT. Don't you remember me? 



FROM RAGS TO RICHES 121 

MOTH. Seems to me I do, sir. 

MONT. I used to be in business on Broome Street. 

MOTH. Are you the old gentleman I used to scrub for? 

MONT. I am. Mother. Are these the babies I left with you in 1890? 

MOTH. The very same, sir, and the devil of a time I've had scratching for 
their living. 

MONT. I sent you money to provide for them every month by my nephew, 
until you moved and he could find you no more. 

MOTH. Devil a bit did I ever see of your nephew or any money, sir. 

BROWN. The woman speaks the truth. This officer will vouch for her 
honesty. 

MIKE. That I will, sir, and pardon me, but you might as well know all 
the truth while we are at it. One of the worst gamblers of the Tenderloin 
poses as your nephew and obtains money by using your name. 

NED. Yes, and he insulted my sister last night. 

MOTH. Don't mind him, sir, it was no insult. The young gentleman was 
kind to us. 

MONT. Enough! Brown, you have convinced me. Take them away. I 
must have time to think. Oh, the shame, the disgrace of it all! 

NED. We're not here to disgrace anybody. If you are ashamed of us we 
will go. I didn't want to come. It kept me from work. 

MONT. Then you work, young man ? 

NED. Yes, sir. 

MONT. What do you do ? 

NED. Sell papers. 

MONT. Would you work just as hard if this mansion was yours? 

NED. Yes, sir. I'd have to if I wished to keep it. 

MONT. Leave the boy with me, Brown, he interests me. [Brown motions 
to Mother, and exits R.C. with Mife] 

MOTH. Come, Floss. [Crosses up R.C.] 

FLOS. Can't I stay, too? Oh, it's all so grand! 

MONT. Let the girl remain if she wishes. I will see you before you leave, 
Mrs. Murphy, and give you a check for what I owe you. 

MOTH. God bless you, sir! What will I do with all that money? [Exits 
R.C.] 

MONT. Come to me, children, I'll not harm you. I'm only a poor, sick 
old man, with a broken heart, waiting patiendy for the reaper. 

FLOS. [Sitting on ottoman before Montgomery] What's a reaper? 

NED. Don't ask foolish questions, Floss. He's the fellow that reaches out 
and takes in all the chips. 



122 CHARLES A. TAYLOR 

MONT. That's right. The fellow that rakes us all in some day. Do you 
remember your parents, children? 

NED. No, sir, we weren't old enough. 

FLOS. I do, I'm older than him. I remember mama, she was always crying. 

MONT. Would you like to see her again? 

FLOS. Yes, sir, very much. 

NED. Would I like to see her? Say, I'd eat her up. [Pounding heard on 
metal off L.] What's going on in there? Is someone tapping the till? [Peep- 
ing at %eyhole, La.] 

FLOS. You must not peek, Ned, that's rude. I want to look at some of 
those books awful bad, but I wouldn't ask. [Pointing to center table} 

MONT. You may look at them, my dear, while Ned and I go and investi- 
gate the noise in my apartments. [Flossie crosses to center table f examining 
booths] 

NED. Is that your room in there? 

MONT. Yes. Do you think you are able to assist me to enter? [Trying to 
rise] 

NED. Do I? Just try me. Lean on my shoulder hard as you want to. I'm 
strong. [Assisting Montgomery to rise] 

MONT. [Leaning on Ned and walking La. by aid of cane] You would 
be a handy boy to keep around here. Wouldn't you rather work for me than 
sell papers? 

NED. How much do you pay ? 

MONT. What salary do you want? 

NED. All I can get. 

MONT. We will talk it over. Easy now, don't let me fall. [Ned pushes open 
L.2., exits with Montgomery] 

CHAR. [Enters L.C. dressed in velvet jacket, riding boots. Crosses down R. 
Is about to open R^. when he sees Flossie leaning with both elbows on table 
engrossed in boo\. Aside} She here? 

FLOS, [Looking up and smiling} Hello, Prince. 

CHAR. Hello, what are you doing here? 

FLOS. Reading a book. 

CHAR. Did you drop from the sky? 

FLOS. Do I look like an angel? 

CHAR. Yes, and a very beautiful one. What brought you here? 

FLOS. My feet. I don't have carriages like the one you promised to take 
me in. 

CHAR. Did you come here to get the carriage ride I promised you ? 

FLOS. Certainly, and that ring my brother made me give back. 



FROM RAGS TO RICHES 123 

CHAR. Are you joshing me? How old are you, anyway? 

FLOS. That's pretty hard to say, seeing I don't know who my mother is 
or when I was born; but I feel oh, let me see, quite a young lady about 
eighteen, I guess. 

CHAR. You don't look sixteen, but you are sweet enough to kiss. Then 
you're not mad with me after what happened last night? 

FLOS. No, why should I be? You treated me all right. 

CHAR. Then here's the ring. [Places ring on Flossie's finger and goes to 
embrace her] 

FLOR. [In stylish riding-gown^ hat and veil, enters Ra,.] What is that 
girl doing here? 

CHAR. You'll have to ask her. I haven't found out yet. 

FLOS. My, but ain't you swell. [Circling about Flora] 

FLOR. Who are you? 

FLOS. Flossie Murphy. 

FLOR. Who brought you here? 

FLOS. The old woman. 

FLOR. Where is she now? 

FLOS. Out in the garden. [Crosses up to R.C.] 

CHAR. This is the girl I told you about, Flo. I gave her mother my address 
last night but I didn't think she'd bring her girl here. The old lady needs the 
money and I want the girl. 

FLOR. Shame, she is only a child! 

CHAR. No matter; so much the better. Now's the chance to get her. You 
take her down to the side entrance. [Pointing R^.] I'll have the carriage sent 
round to you. I'm going horseback and will meet you in the park. 

FLOR. Suppose she won't go? 

CHAR. Yes, she will. Quick now or we will be discovered. [Pushing open 
Rz.] Come here, Butterfly, do you want to take that ride? 

FLOS. Sure I do, if you ask the old woman. 

CHAR. You go down to the carriage with this lady. I'll go and tell your 
mother. 

FLOR. [Crosses Ra.] Come, my dear, we'll not be gone long. [Stretches 
her hand forward to Flossie] 

FLOS. [Advances slowly R. and gives her hand to Flora] My, what beauti- 
ful diamonds. See, I have one on my hand also. It's not very big, but it's my 
engagement ring. [Kisses ring and loo^s over her shoulder at Charlie and 
exits] 

FLORA. Charles Montgomery, hell has no fires hot enough for you. 
[Smiling] 



i2 4 CHARLES A. TAYLOR 

CHAR. How about yourself? 

FLOR. Oh [Shrugs shoulders], I'm resigned to my fate. I don't think about 
such things. It's unpleasant. [Exits Rz., closes door. Riding master appears 
L.C.] 

CHAR. Send James around to the side entrance with the coupe. Hold my 
horse ready in the front drive. [Master salutes and exits L.C. Montgomery 
and Ned enter L.2 V Montgomery leaning on Ned] 

CHAR. Uncle, I am waiting for a check. 

MONT. You'll have to keep on waiting. [Sits L. of table by Ned's aid. Ned 
stands L.C.] 

CHAR. [Leans on table] Don't get it? Do you want the bank to pull me 
up and disgrace you? 

MONT. Disgrace me, you low-lived dog. You've done nothing else during 
your whole life. Ned, is this the man who insulted your sister ? 

NED. Yes, sir. 

CHAR. The boy lies. I never saw him before. 

MONT. Silence, sir. Where's your sister, Ned? I want her evidence, also. 

NED. She must have gone out. I'll get her. [Exits R.C. on run] 

MONT. Charlie, I want you to take this woman of yours and get out. 

CHAR. How dare you speak of my wife like that? Uncle, if you were a 
'younger man Fd [Raising arm as if to stride Montgomery] 

MONT. [Rising and clutching table] You'd what? My God, has it come 
to this? Raise your arm to me, after all I've done I'll cut you off, sir! You 
and your adventuress you call your wife. This excitement is killing me. My 
heart, Charlie it's humming away like the tongue of a monster bell. Call 
my nurse, Gertrude, I'm dying help [Falls insensible upon rug in front 
of table, center] 

ALB. [With %it of tools and short section of lead pipe in his hand enters 
La., runs forward and tries to catch Montgomery as he falls. Kneels and, 
laying his pipe and tools down, raises Montgomery's head] What are you 
standing there for, man? Run for help. [Charlie R.C. bending over Mont- 
gomery. Ned, Brown, Mife, Mother, enter R.C. in order named Gertrude, 
wearing glasses, enters Lz,] 

NED. See, the old man has been murdered. 

CHAR. Yes, cruelly murdered, struck on the head by that man, who is 
an escaped convict. See, his weapon lays beside him. 

GERT. [Crosses C. in front of Montgomery's body} You lie, Charles 
Montgomery. It is true this man is an escaped convict, but he would not be 
guilty of murder. 

CHAR. How do you know? 



FROM RAGS TO RICHES 125 

GERT. [Removing glasses] Because he is my husband. 

ALB. [Catching Gertrude in his arms] Flora, my wife. 

GERT. [Freeing herself] Yes, Albert, your wife once and for all time, had 
it not been for that man. [Pointing to Charlie. Kneeling] Mr. Montgomery 
was not murdered. There is no sign of a blow upon his head. He was suffer- 
ing from an aneurism, the most dangerous disease of the heart. Undue excite- 
ment caused it to burst. [ Arising] This man died of a broken heart. 

CHAR. Yes, and left me his sole heir to millions. I defy you all. I am 
master of this house now. There is no room here for escaped convicts and 
beggars. So get out. \Lawyer t white hair and Prince Albert, with legal docu- 
ment, enters L.2., crosses to L. of table} 

NED. [Climbing on table and bending down so he can pat Charlie on 
shoulder} Hold on, Prince Charlie. I might have been a beggar once, but I 
ain't no more. The old man changed his mind just a few minutes before he 
died, sent for his lawyer, cut you off and left his money to me. Read that 
and then you get out. \Ta%es legal paper -from lawyer, hands it to Charlie. 
Charlie opens it, staggers bact^ f loo\s up to lawyer, who nods} 

CURTAIN 

Mother Ned Brown 

MiJ^e Montgomery Lawyer Gertrude Albert 

Charlie 

PICTURE FOR 2ND CURTAIN 

Mother Brown Charlie and Riding Master 

Mi\e Lawyer 

POSITIONS FOR 3RD CURTAIN 

Ned Gertrude Albert 

PICTURE 

Albert, Gertrude, and Ned in group L.C. downstage. Albert has arm about 
Gertrude. Gertrude has hand on Ned's head. Ned is showing will to his 
father, Albert. Mi\e and lawyer stand facing upstage talking to Mother and 
Brown near conservatory JR.C. Charles and Riding Master in heated conversa- 
tion in hallway seen through L.C. door, Charlie pulling on his gloves. Mont- 
gomery's body lies in front of table C. r head L., feet R.; Butler with folded 
arms and bowed head at feet. Little maid with white apron and cap, \neeling, 
crying at his head L. 

Arrange for curtain call after second curtain. Positively do not let character 
who plays Montgomery ta\e this call. Let the boy come last with father and 
mother. Do not let Flora or Flossie tafye this call. This is important to further 
interest in play. 



126 CHARLES A. TAYLOR 

ACT III. 

SCENE i : One month later.. Broadway after dar\ in front of Stanley's. Drop in 
3. fainted to represent entrance to restaurant. Arch door R.C. with interior 
backing. Window L.C. with interior backing. Set piece representing rear of 
cab R. There can be profiles with backings so as to show drivers on the 
box in livery. Curtain discovers Mi%e, in uniform of Broadway police, 
hustling supers as newsboys and venders, beggars and so forth R. and L. 
supers as ladies and gents enter and exit from R.C. 

BROWN. [In business suit enters from R.] Hello! Mike, been transferred? 

MIKE. Yes, promoted to the Broadway Squad. Have you found Miss 
Flossie? 

BROWN. Not yet. Flora Bradley doesn't deny she took the girl to ride, but 
says she let her out in the park and she ran away. 

MIKE. A likely story. What does the coachman say? 

BROWN. Anything for money and they have lots of it. 

MIKE. Too bad the boy Ned can't get his own. 

BROWN. Yes. Prince Charlie's attorneys claim the old man was tricked 
into signing his property away. The codicil reads "To Cooper's boy to pro- 
vide for the mother and help find the father." 

MIKE. Yes, and the mother signed as witness. What more do they want? 

BROWN, She signed as Gertrude Clark, the nurse. Now she can't prove 
she is Cooper's wife or that Ned is her boy. They won't take a convict's 
testimony in the case. If the girl could be found, she was old enough to 
remember her mother. Her identification would establish the boy's right to 
the property. 

MIKE. All the more reason for them keeping her hid. [Calling R.] Here, 
move on. Don't bump that lady, or I'll bump your head. 

MOTH. [Enter R.I., talking off R.] You have a foot on you like a rhi- 
noceros. You popped my corn for me. Oh, me, oh, my. [Hopping on one 
foot] What's that? Here, officer, arrest that Welsh rabbit, he called me a 
cuckoo. [Bumps into Brown] Excuse me, sir. 

MIKE. Don't mind them, Mother. 

MOTH. Don't mind them, who those loafers or me corns? Oh, it's you, 
is it? 

BROWN. What are you doing on Broadway, Mrs. Murphy? 

MOTH. Looking for me poor gal. 

BROWN. Where's Ned? 



FROM RAGS TO RICHES 127 

MOTH. Doing the selfsame thing and trying to support himself. My busi- 
ness has gone to the devil with all my trouble. The lawyers offered to 
advance Ned money, but he's so proud he refused it. I hear you're doing 
what you can, sir, and I'm much obliged to you. Hist, Mike, can I borrow 
your ear for a minute? [Crosses L.] 

MIKE. You can if you don't whistle in it. 

MOTH. Walk down the street. I need protection. Excuse us, Brown, he'll 
be back in a wink. 

BROWN. Going to get a drink? 

MOTH. No. no. I said in a wink- one of those things you get on Broad- 
way after dark. [Winfe at Brown, exits after Mi\e, L.I. Gertrude, in plain 
street dress, with small parcel of dry goods, enters R.I.] ' 

BROWN. Hello, little woman, I was just speaking of you. I see the governor 
has pardoned your husband. 

GERT. Yes, Brown, he was never guilty. I found out too late that Charles 
Montgomery forged the checks that sent Albert to jail and turned me against 
the father of my children. 

BROWN. And I shall help you. [Clasping her hand} 

GERT. I understand, Brown. I only hope my daughter is in the hands of 
an honest man like you. 

BROWN. Would you know her if you met? 

GERT. I suppose not, though my mother heart should tell me. 

BROWN. Where is your husband? 

GERT. Looking for employment. We all want work. I'm sewing, but it 
takes us from the search for Flossie. 

BROWN. Let me help you. [Reaching -for money} I have money saved and 
you are welcome. 

GERT. No, Arthur, you have done enough. 

BROWN. You look tired. Won't you come in and have supper? 

GERT. In Shanley's ? Oh, no. I'm not dressed well enough. Besides I have 
this work to deliver. Ned promised to meet me here. He will be around with 
his extras before long. I shall walk up and down and watch the people till 
he comes. 

BROWN. If I find him, you shall both go to supper with me. [Exit L./.] 

GERT. All lights, music and bright faces. I wonder if there are any hearts 
in there as heavy as mine. What a beautiful girl in that cab. She's going to 
alight. [LooJ(s R.} 

FLOS. [In stylish gown, with jewels and so jorth, enters Rj., passes Ger- 
trude} Why couldn't that stupid driver let me out in front of the joint, 
instead of waltzing me round the corner into a dark street. Guess he don't 



128 CHARLES A. TAYLOR 

know who I am. Shanley's, this is the place. I won't know how to act in that 
swell bakery. I feel so funny in all these new togs. I want to stay on the street 
and show off. Charlie don't want anyone to see me. He put me in the cab 
and told me to keep out of sight. I don't blame him, I must look out of sight. 
I guess he's afraid he'll lose me. He says if the old woman gets me, she'll 
put me back to washing dishes. [To Gertrude] Who you looking at? Didn't 
you ever see a lady before? [Gertrude bows head, crosses L.C.] My, but these 
common people are rude. I suppose she knows I'm going to be a bride. When 
Charlie bought me these clothes he told me they was my wedding trousers. 
He's getting awful fresh. I don't know whether I will marry him or not. 
[Exits R.C. Waiter seen seating her at window L.C. Flossie ties napkin round 
necJ^ drinks out of water bottle jo\es with waiter, whispering to him from 
behind. Waiter throws his head bac\ and is seen shading himself with 
laughter] 

GERT. Poor, wild, young thing. I wonder who she is. My, but she is 
beautiful. Her face seems to fascinate me. I will walk back this way on my 
return and see if she is still there. [Starts L. but stops, watching Flossie as if 
fascinated. Charlie and Flora enter R.I. in evening dress without seeing 
Gertrude] 

FLOR. Fool, you are taking a desperate chance. 

CHAR. She wouldn't stay cooped up any longer. She's so changed her 
mother wouldn't know her. 

FLOR. I should hope not, [Gertrude bows head and slowly exits L.I. 
Charlie and Flora turn and watch her] 

CHAR. Who's that? 

FLOR. Some hungry beggar. Why don't you take the girl and get out to 
Europe before they catch you up in the game? 

CHAR. She says I must marry her first. 

FLOR. And will you ? 

CHAR. You know me. I shall make her think so. You must go on playing 
the sister gag. [Exits R.C. Flora laughs and exits R.C. Drops chatelaine bag 
containing purse] 

ALB. [Plain, rough, but neat clothes, enters R.I.] I can't find employment. 
No one wants me. My mind is always on my lost child. Had I known her 
that night on the Bowery, when she gave me this rose, I might have saved 
all this suffering. [Taking rose from inside vest and pissing it and replacing 
it; sees bag] Hello, has my luck changed? [Picks up bag] A pocketbook, 
and filled with bills. Thank God, my prayer has been answered. This will 
relieve my wife and boy from want. Help us to find our Flossie. No, I can't 
keep this. It wouldn't be right. I'm under suspicion now. I must be careful 



FROM RAGS TO RICHES 129 

FLOR. [Enters R.C., with waiter, followed by Charlie] There it is in that 
man's hands. He must have snatched it from me as I got out of my carriage. 

ALB. I just picked it up, ma'am. [Offering bag] 

FLOR. [Snatching bag from Albert] You were counting the money and 
placing it in your pocket. There is some missing. 

ALB. A thief don't stop on Broadway to count stolen money. [Mil^e enters 
L.i. Crowd gathers from R. and L.] 

CHAR. You seem familiar with their methods. Officer, this man has robbed 
my wife. I want him arrested. 

MIKE. Cooper, what does this mean? 

ALB. They are mistaken. I found the bag and returned it. 

CHAR. Lock him up, officer. I know him to be a common thief, 

MIKE. And I know him to be honest. 

CHAR. If you refuse to arrest this man I shall prefer charges against you. 

MIKE. Your word don't count for much at headquarters. You are not 
above suspicion yourself. Take that hand-painted fairy and go inside. [ Crosses 
up steps] 

CHAR. You are all witnesses that this officer has insulted me, and he re- 
fused to do his duty. That man is a thief. 

ALB. Let me at him, Mike. [Rushes at Charlie] 

MIKE. [Catches Albert and pushes him bacfy] Hold on, Cooper. 

ALB. Ill get you yet, Charles Montgomery. God help you when I do. 

MIKE. Go on, go on, don't be a fool. \Bac\s Cooper off R.I. Charlie and 
Flora seen standing inside beside Flossie. Charlie sits facing out, head close 
to Flossie's face, talking earnestly] 

GERT. [Enter L./.J Yes, she's there still. \Loo\ing in window] She has 
company. No wonder that man's talking to her. Where have I seen him 
before? I wish he would raise his head my God, it is Charles Montgomery, 
and he has ensnared and will ruin her as he did me as he has so many 
others. [Staggers bac\, puts her hand to face] If I could only warn her. Get 
her away from him some way. 

MOTH. [Enters L.t.] What's this crying in the street, Mrs. Cooper? Have 
you gone daffy? Just as we are getting you straightened up of all your 
trouble. 

GERT. Look, Mother Murphy, do you see that man? 

MOTH. See that man? Faith, I'm not blind. I see two of them. One is 
making love, the other spilling soup down his back. [Pointing to waiter who 
is just serving Charlie and Flossie] 

GERT. No, no, not the waiter. I mean the gentleman. 



130 CHARLES A. TAYLOR 

MOTH. Faith, there is no gentleman there, my dear. A man that would 
talk to a gal like that while she's trying to eat her victuals is no gentleman. 

GERT. Don't you see who it is? 

MOTH. Sure enough, it's Prince Charlie and say, what the devil has come 
over my eyes ? 

GERT. What's the matter, Mrs. Murphy ? 

MOTH. The girl I'm lookin' at. Make the snakes crawl back in Ireland, 
but it's her. 

GERT. It's who? 

MOTH. That brazen huzzy in the silk petticoat. Look at her with the airs 
of a lady and the jewels of a Dutch heiress. Eatin' her soup with a fork. Look 
at her, woman. Don't you know who that is? [Gertrude shades her head} 
That's Flossie Murphy Cooper. That's your own daughter, my dear. [Ger- 
trude gives a stifled scream and clutches Mother for support] Be still now. 
Don't be a fool because your child is brace up brace up and be a man. 
[Messenger boy in uniform of WJJ.T.Co*, about same size as Ned, enters 
R.I., exits R.C. Is seen again at table L.C. with Flossie and Charlie. Charlie 
seals and hands boy a message} 

GERT. My child, my little Flossie in the power of that man! Quick, Mrs. 
Murphy, we must do something to save her. 

MOTH. Easy, now. Easy. We'll do that same thing but we will be diplo- 
matic. That man is a smooth-tongued slippery cuss. You wait here and keep 
your eyes on him while I get a cop. 

GERT. What is he giving that messenger boy? 

MOTH. I suppose it's a date with another gal. He has a hundred but the 
divil will have him when I get back. 

FLOR. [Following messenger on R*C.] Hurry now, catch that car and 
change at 34th Street. [Messenger starts L.j 

GERT. Stop, boy, give me that message. [Grabs message] 

FLOR. What do you mean, woman. Let that boy alone. [Messenger 
dodges Gertrude and exits L.r.] 

MOTH. Here, give me that. Come back here, you little divil. I'll catch you. 
Pll turn you up and spank your [Exits L.Z.] 

GERT. You adventuress, I have found you at last. 

FLOR. So it's you, is it? 

GERT. Yes, the nurse who foiled your plans to poison the dearest old man 
who ever lived. The mother of that little girl who you stole and are leading 
to ruin. Give her to me at once. 

FLOR. Be still, woman, don't make a scene. You shall have her. See, you 
are attracting a crowd. [To waiter} Quick, Lewis, call Mr. Montgomery. 



FROM RAGS TO RICHES 131 

Tell him to bring the girL [Waiter exits. Charlie and Flossie seen to rise 
hurriedly and enter R.C.] 

FLOR. Quick into that carriage and get away I will stay and have her 
locked up. 

FLOS. Who is it? What does she want? 

CHAR. Never mind. Come. 

GERT. Flossie, Flossie, my child. Don't you know me? [Stepping forth 
and reaching toward her] 

CHAR. Come. [Putts Flossie R.] 

FLOR. [Stepping between Flossie and Gertrude] Hands off. I will have 
you arrested. 

FLOS. Stop. You hurt me. Let me see what she wants. 

CHAR. Come on, I say. [Jer^s Flossie off R.I. by the arm] 

GERT. Oh, please, someone stop them. They are stealing my child. [Ned 
with extras enters R.I.] Ned, my boy help [Starts toward Ned, staggers, 
fainting. Ned throws down papers. Catches Gertrude, lays her C., tyieels 
behind her. Crowd gathers about in sympathy'] 

FLOR. She's a rank imposter, deserving of no sympathy. Someone call the 
patrol. 

NED. Stop. She is no imposter. She has fainted from worry and grief. This 
woman is my mother, and I am here to protect her. You are the one who 
should be arrested. [Pointing to Flora] 

FLOR. Who will take your word. You're only a boy of the streets a ragged 
beggar. 

NED. Child of the streets, yes, but no beggar. 

MOTH. [Enters dragging messenger boy by ear] Come on> sonny, or I'll 
twist your ear off. [Sees Ned] What's the matter? Have I come too late? 

FLOR. Release that boy. I sent him on an errand. What are you doing with 
my message? 

MOTH. Holding it for the police. Where the divil are they? When there is 
a fight they all run the other way. 

NED. Here's the copit's Mike. We're all right now. [Calling] Mike, 
Mike. 

MIKE. [Enters R.I.] Hello, Ned. What do you want? 

NED. I want you to arrest that woman. [Pointing to Flora'] 

MIKE. What's the trouble ? 

NED. I don't know, but I am going to find out. 

MOTH. That woman knows where your sister is, Ned. Flossie was in that 
restaurant a minute ago with Prince Charlie. They sent this boy away with 



ij2 CHARLES A. TAYLOR 

a message. Here it is. I can't read, but I can run like hell, can't I, boy? 
[Hands Ned the message} 

NED. [Tearing open the envelope and reading, aside] "Frank, meet me at 
the Waldorf-Astoria, Room 604. I want you to perform a mock marriage. 
Come quick." [Crumbles message in his hand] Not as quick as I will go. 
Here, boy, I want to trade jobs with you. Lend me your coat and cap. I will 
deliver this message. [Pulls off his coat and hat. Throws them on top of his 
bundle of papers, jer{s coat and cap off of messenger boy and puts them on] 

MIKE. What are you going to do ? 

NED. Turn detective. Look after my mother, Mike, and don't let that 
woman get away. Here, boy, you can sell those extras for me. When I get 
back I'll have money enough to set you up in business. [Hands messenger 
boy his papers, hat and coat and exits R.I. on the run. Mother f who has 
been Reeling by Gertrude during this scene, raises her to her feet, just as 
Ned exits. Gertrude calls "Ned, Ned," stretching forth arms. Brown enters 
LJ. Throws his arm about Gertrude and she starts to exit L.I. between 
Mother and Brown. Mi\e has started to drag Flora off R.I. She puts up a 
fight and Brown handcuffs her. Crowd laughs and taunts her "oot, oot f oot," 
slap Lewis the waiter with their hats and drive him in restaurant] 

LEW. [Pulls apron, tries to ma\e a stand] You loafers, hoodlums. [Shades 
fist, throws flower pots and exits. Sticks head out of window, shades fist. 
Lights out. Dar\ change] 

SCENE 2: Same night. Room in the Waldorf-Astoria. Drop in 2. with windows 
R.C. backed by house-tops. Railing and ladder of fire escape seen through 
L.C. Arch door draped by heavy curtains J?.2 V supposed to lead into bed- 
chamber. Red bunch off this entrance. Door opening off L.2. White off this 
entrance 1 . Table C. containing novels f fruit f candy, flowers and so forth. Over 
table drop-light or standard lamp. Fancy chairs, R. and L. of table. Couch and 
writing des\ R. Couch well downstage R. Des\ R. Chair before des\, pencils, 
paper, pens, and so forth in des\. Fancy sofa pillow on couch. Newspaper, 
cuspidors, rugs, wastebas\et. Full mirror downstage L. Statue of Moorish 
slave and flower set so as to reflect by mirror. Electric button for call bell in 
practical circular molding to breaf^ away, on return piece L. 

FLOS. {Discovered before mirror in evening dress, jewels on her hands and 
at her throat. She is dressing her hair with flowers] I wonder who rny 
mother was. As I remember her, she was very pretty. I wish she was with 
me tonight. Charlie has gone for the minister. He's going to tie the knot 
right in this room. Now it's come down to saying yes, I'm scared maybe I 



FROM RAGS TO RICHES 133 

ain't doing right. [Crosses to couch] I'd gone home and got Mother Murphy 
and Ned if they'd let me, but 111 make it all right when the job's done. I'll 
have money enough so they won't have to work no more. This is a bully 
book. It's by Laura Jean Libby. It tells about a poor girl just like me, who 
married and became a duchess. I don't believe I'd marry a Dutchman. 
[Charlie enters L.2., closes door and listens. Flossie sitting up with boo\ in 
lap] Behold the bridegroom comes. What are you listening for, Prince? Are 
you scared your mother-in-law's coming upstairs? 

CHAR. No, you see I have no business in the room. They are very strict 
at this hotel. I didn't dare to register you as my wife. 

FLOS. Well, I should say not. Where's the preacher? The crimp is all 
coming out of my hair. [Crosses to mirror'] 

CHAR. [Lighting cigaret] See here, Flossie, if my friend doesn't come 
pretty soon we can't get married till we get over the pond. 

FLOS. No, sir, you don't float me across no pond on promises. 

CHAR. Now come, Flossie. Don't be obstinate. It will be only a matter of 
a few days. 

FLOS. Yes, I know, but there's lots can happen in a few days. Suppose I 
get seasick, or the ship goes down? 

CHAR. Then we will die in each other's arms and sink together. 

FLOS. If we do the fishes will find my marriage certificate buttoned under 
my shirtwaist. I ain't putting myself up as any saint, Prince. I may not be as 
polite and soft-spoken as some girls. I use words that ain't writ down in the 
Bible, but I say my prayers when I don't forget about it, and when I do I 
ask God to keep me right for the man I'm going to call husband. 

CHAR. Yes, you're a diamond in the rough, and, hang it all, I like you, 
Floss. I'll be truthful with you if nothing more. 

FLOS. Haven't you always been? 

CHAR. Not exactly. You see the fact of the matter is I can't marry anyone. 
[Crosses L.] 

FLOS. Then what have you been foolin* around for all this time? 

CHAR. Because I am madly in love with you. 

FLOS. This book says, "Beware of him who speaks of love and not of 
marriage vows." 

CHAR. Then you believe that book? 

FLOS. Yes. It is a very good book. 

CHAR. Hang what the good book says. Come over here and sit beside me. 
[Seats himself on couch} 

FLOS. Promise me you'll not get fresh. That you won't start no lolly- 
gaggin'. 



i 3 4 CHARLES A. TAYLOR 

CHAR. I promise. 

FLOS. Cross your heart. 

CHAR. Cross my heart. \Ma\es sign of cross on right side} 

FLOS. Get out. Your heart ain't on that side. 

CHAR. No, but it will be when you sit down here. [Making room on his 



FLOS. [Sits down timidly and adjusts shirts; raises her eyes} Why don't 
you tell me I look nice? 

CHAR. You certainly are a swell looker for a kid. 

FLOS. Get out. I ain't no kid. I'm most seventeen. 

CHAR. Old enough to smoke. Have a cigaret? 

FLOS. The old woman would beat hell out of me if she saw me smoke one 
of these. [Taking cigaret] 

CHAR. But she won't see you. [Putting his arm about her; his hand on her 
bare arm} 

FLOS. Take that cigaret-holder off my shoulder. 

CHAR. A cigaret-holder? 

FLOS. Yes, your hand. It's all stained from the smoke. [Pushing Charlie's 
hand and moving down} 

CHAR. That's nicotine. 

FLOS. What's nicotine? 

CHAR. Nicotine comes from the cigaret. It's poison. 

FLOS. Then why do you offer them to me? [Looking at cigaret in her 
hand} 

CHAR. Oh, they won't hurt you. 

FLOS. They won't do me no good. Let me see you make it come out of 
your nose. 

CHAR. What? 

FLOS. The smoke. 

CHAR. Oh. [Blows smo\e through nose. Flossie laughs} What are you 
laughing at? 

FLOS. When you do that you look just like the Devil. 

CHAR. [Springing to his feet, crosses C.] So I am, the Devil in the form 
of a man. God placed such bewitching creatures as you on this earth to make 
men what I am. Come, you have tempted me long enough. You must be 
mine. [Starts forward and as Flossie springs up, clasps her in his arms} 

FLOS. Quit now. You hurt me. Let me go. What are you looking like that 
for, Charlie? You frighten me. [Begins to sob and cry} 

CHAR. [Releasing her} Oh, if you are going to cry, I'll let you alone. 



FROM RAGS TO RICHES 135 

FLOS. [Snuffling and smiling through her tears} Then I'll keep on crying 
all the time. [Sits on couch} My, but you're roughhouse when you get 
started. Worse than the Chatham Square gang what took me to Coney Island. 

CHAR. See here, Floss, why can't you look at this matter in the right 
light? I want you to go to Europe with me. I'll give you everything money 
can buy. Diamonds, fine clothes, horses, carriages, servants nothing but a 
good time. Christmas every day in the year. 

FLOS. You must want to work Santa Glaus overtime. 

CHAR. I'll be your Santa Glaus, and I'll not kick at my job. Come, what 
do you say? Haven't I given you beautiful presents already? Have you no 
gratitude? What more do you want? 

FLOS. A plain band of gold on that finger. 

CHAR. You shall have it. Anything else? 

FLOS. Yes, a man with a long face, who will tell you how to put it on. 

CHAR. Rot. You'll have to cut out the man with the long face. 

FLOS. Then you will have to fill up the pond before you'll get me to 
cross it. 

CHAR. See here, do you think I'm going to be foiled by a strip of a girl 
like you? Are you aware I have you in my power? That I can do with you 
as I please? 

FLOS. Maybe you can if you are good to me, but if you speak like that 
and get me mad, I'll tear something. [Rips lace on sleeve} 

CHAR. Don't destroy that dress. It cost me a hundred dollars. 

FLOS. [Ripping lace on other sleeve} I don't care if it cost a thousand. If 
you get me riled, I'll tear it off. [Throws herself on couch in convulsion of 
sobs] 

CHAR. See here, my fine lady, if you are going to .fight me like that, I'll 
place you back on the Bowery in rags. 

FLOS. [Springing up] Send me back. There's where I belong. Give me 
my old garments and let me go back. Then such men as you may pass me 
by. My soul will feel more secure with my body clothed in rags. [Crosses C} 
There's the flowers you gave me, your rings, your diamond necklace, your 
dirty old picture all you gave me. I'll give you everything, everything but 
what you want. [Tearing jewels, locket, and so forth, and throwing them at 
Charlie; then picking up shirts and jumping couch, exits behind curtain jR.2. 
Charlie starts after her. Ned pounds on door off L.] 

CHAR. [Pauses and loo\s over shoulder in frightened manner} Who's 
there? 

FLOS. [Off JR.] The Devil come to claim his own. Take that, and that, 
and that. [Throwing shoes, corset, stockings, petticoats, undergarments, one 



136 CHARLES A. TAYLOR 

at a time, through curtain at Charlie, who dodges these missiles C. Ned 
J^eeps up a vigorous hammering at the door. Flossie off R.] If you come in 
here, Charles Montgomery, 111 kill you. [Throwing her high-heeled shoe and 
striding Charlie] 

CHAR. Oh, I'm not coming in, don't worry. [Rubbing his arm] Be still, 
Floss, there is someone at the door. [Crosses and listens at door with bac\ to 
window] Who's there, I say. [Aside] Whoever it was, they have gone. 
[Stands listening. Ned, as messenger boy, appears on fire escape, breads 
window and springs into the room] 

CHAR. [Staggers bac\ and crosses down R.] What is the meaning of this? 

NED. I came to deliver a message, sir. [Holding 'out booQ 

CHAR. Is that any excuse for breaking in like a burglar? 

NED. Yes, when the door is barred. My message is important. 

CHAR. Well, sir, what is it? 

NED. The Cooper family have elected me a committee of one to settle 
accounts with you and bring home my sister. 

CHAR. Come, boy, get out of here or I will throw you out of the window. 

NED. [Pulling revolver and pointing at Charlie] I don't think you will. 

CHAR. Put that down. What are you going to do? 

NED. Ask my sister a few little questions. If you have harmed her I'm 
going to kill you. [Ta\es doorfyey from door L.2., puts it in pocket] 

FLOS. [Entering R. from behind curtains in her old dress and crosses, 
\neeling by Ned] No, Ned, don't do that. See, I am ready to go home with 
you. 

CHAR. Take that pistol away from him, girl. You can't tell what he may 
do. The boy's gone mad. 

NED. Mad, you bet I am. Why didn't you come and take it away? 

CHAR. If I could only get over and touch that bell. 

NED. I'll let you touch it. The answer might not be just as you expect. 

CHAR. On second thought, I guess I'll let it alone. 

NED. Yes, I think you'd better. 

FLOS. Ned, put up that pistol and take me home. 

NED. Not if you've disgraced it. 

FLOS. No, no, Ned. He tempted me. But see here are my old beads. The 
cross is still over my heart. You know my promise to Mother. No, no, Ned. 
I gave him back his clothes and jewels. I would not pay the price he asked. 

NED. [Putting up pistol in bac\ poc\et, raising Flossie to her feet and piss- 
ing her] I believe you, my sister. See here in his own handwriting is a plan 
to ruin you. [Hands Flossie message] 



FROM RAGS TO RICHES 137 

FLOS. [Reading] A mock marriage. So you never meant fair by me from 
the first. [Charlie springs forward and overpowers Ned. Ta^es pistol from 
him] 

NED. Quick, Flossie, touch the bell. [Charlie strides Ned on head with 
the pistol. Ned places hand to head and falls across couch unconscious] 

CHAR. [Dashes to Flossie and pulls her from bell] Come away from there. 

FLOS. Too late, I have rung the bell. 

CHAR. See, I've quieted your brother. If you give an alarm, I'll treat you 
the same way. 

FLOS. Oh, Ned, Ned. [Throwing her arm about Ned] Speak to me, Ned. 
Coward, to strike a boy like that. [PicJ^s up flower urn and dumps out 
flowers and breads it over Charlie's head. Charlie catches Flossie by throat 
and chores her] 

FLOS. Help. Let me go. You are choking me. [Charlie drops Flossie L. 
Bellboy pounds at door. Charlie picJ(s up petticoat, binds it about Flossie's 
head, drags her off behind curtains R^. Returns, ta\es \ey from Ned's pocket, 
opens door part way] 

BELL. Did you ring? 

CHAR. Yes. You will find a well dressed Chinaman in the smoking-room 
waiting to see Charles Montgomery. Send him up. 

BELL. Yes, sir. [Charlie closes door and loc\s it. Ned rolls off couch and 
tries to rise. Charlie springs forward, turns Ned on his face and ties his hands 
behind him with strings. He ta\es strings from corset that lay on the floor] 

NED. You'll get all that's coming to you when I get away. Where's my 
sister? 

CHAR. She's thinking over the folly of her ways. 

NED. Do you ever think? 

CHAR. No, I'm too busy to think. 

NED. You'll have plenty of time to think in the place where I'm going 
to put you. 

CHAR. Where's that? Over in Blackwell's? 

NED. No, in the cell my father left vacant in Sing Sing. [Bellboy %noc\- 
ing at door] 

CHAR. Now if you holler when that door opens, 111 use this on you. 
[Shows pistol] 

NED. Oh, you'll find me game. I'll not squeal. I ain't found out all I want 
to yet. [Charlie drags Ned up and throws him beneath window, pulls portieres 
about him and opens the door] 

BELL. [Off L] Here's your Chinaman. 



138 CHARLES A. TAYLOR 

CHAR. Come in, Sam. [Sam enters La. with long, blue canvas bag over 
shoulder. Charlie shuts door and loc\s it. Sam unshoulders his pacJ(\ Sam, 
I can't do anything with that girl. We will have to take her away in that 
bag. Do you think you can carry her out without creating suspicion? 

SAM. I am strong. If she is still, it will all go well. 

CHAR. Oh, she'll be still all right. What have you in there? 

SAM. Nothing but odds and ends. [Showing lanterns, parasol, Chinese 
lace] 

CHAR. Good, you will find her in there. Hide the contents of your bag 
under the bed. 

SAM. That's my business, always to hide something. 

CHAR. It pays you well. 

SAM. Maybe. I don't know. We will tell better in the end. [Exits .2., 
behind curtain. Bellboy %noc\s at door L.2. Charlie opens door L.2.~\ 

BELL. [Off LJ Here's your cord and wrapping paper, sir. [Hands folded 
heavy paper and ball of cord to Charlie] 

CHAR. You're a good boy. Tell them at the desk not to have the maid 
bother us in the morning. We may sleep late. 

BELL. [Off L.] Yes, sir. 

CHAR. [Shuts door] Now, young man. I'll fix you so you can't walk in 
your sleep. You might fall out of a window. [Pulls Ned to his feet, sets him 
in chair, and commences to bind him to chair, down C.] 

NED. Why don't you have the Chink put me in the bag? 

CHAR. I'm afraid you'd kick. 

NED. You bet I would. If I had a pair of spurs I'd ride his neck. 

SAM. [Enters RaJ\ What, one more fellow? I didn't bargain for two. 

CHAR. Oh, this fellow don't count. 

NED. Don't I? I can count Chinese all right. Yip son, yip soik, yip sa, 
that means I wouldn't give three cents for a pigtail. 

SAM. Boy foolem all time. He no care. 

CHAR. Have you a pill that will make him sleep? 

NED. Yes, roll me a couple so I can dream I'm wealthy. 

SAM. [Producing two pills, taking one out between thumb and forefinger} 
You take this you think you're Morgan. 

NED. If I was, I'd scuttle every ship that carried Chinamen. 

CHAR. Force it in his mouth while I hold his head. [Sam tries to put pill 
in Ned's mouth. Ned bites his finger,, spits out pill] 

SAM. Oh. [Jumps about shading his hand} Muc j-er hy pink-I-tye 
muley-coy wene I j ar we f ow gemar . 



FROM RAGS TO RICHES 139 

CHAR. Did he bite you? 

SAM. Yes, he bites like a mad dog. 

CHAR. Did he swallow it? 

NED. I swallowed something. I don't know whether it was the pill or 
the end of the Chink's finger. Whatever it was, I'm going to throw it up. 
Oh, Lord, ain't I sick. [Coughing and gagging} 

CHAR. I'll just put this bell on the bum as an extra precaution. Give me 
that big knife of yours. [Sam fulls big \ntfe from up his sleeve. Charlie 
taf(es it f pushes blade behind button of bell, hits bac\ of blade with butt of 
revolver and cuts off button and wire} Is the girl ready? [Handing fyiife 
to Sam] 

SAM. She all right. 

CHAR. Bring her along then. The boy's all right. [Sam exits Rz. Charlie 
unlocks door, puts J(ey on outside, turns out electric lights. White light 
streams in from hall on Ned who hangs head as if asleep. Charlie ties hand- 
\erchief over his mouth, gives his head a couple of pushes] That pill fixed 
him. All right, come on, Sam. [Sam raises curtain R^.; dull red gleam streams 
out. Sam lowers curtain, goes bac^ Lights seen to go out. Sam bowed with 
bag on his bac\ filled with dummy to represent Flossie's length. Staggers out 
and exits L.2. in the ray of white light that streams in from L. Charlie shuts 
and" loc\s door on outside. Lights very low, stage quite dar\. Noise of cars 
and city bustle in the distance. ClocJ^ striding twelve] 

NED. [Tumbles chair over and tumbles about floor. Gets handkerchief off 
his mouth by rubbing it on leg of table} Help, help! If I could only get 
free. [Pounding his forehead against desT(\ If I could break this chair and find 
something to cut my hands loose. [Wording downstage and crushing legs of 
chair by pounding them on legs of table] Help, help. [Suddenly the light is 
turned on and Flossie is seen center with her hand on the student's lamp 
bending over table, looking down at Ned who lies panting on floor.] 

FLOS. Ned, Ned, my brother. Don't you know me? [Kneeling by Ned] 

NED. Yes, Flossie. Where did you come from? 

FLOS. That room. [Pointing to RJI.] 

NED. I thought you was in the bag. 

FLOS. I got out while they was giving you the pill. Where's your knife? 

NED. In this pocket. Hurry, cut me free. 

FLOS. [Gets \nife from pocket, starts to cut the cords that bind him] Hold 
still now, or you'll hurt yourself. 

NED. How did you fool them. Floss ? 



140 CHARLES A. TAYLOR 

FLOS. I wrapped a heavy statue of Venus in the bed-clothes, put it in the 
bag and hid under the bed. 

NED. [Springing to his feet and trying door] Brave girl, you've saved us 
both. The door's locked from the outside. 

FLOS. Ring the bell. 

NED. There's no bell to ring. Stay here. I'll give the alarm. [Springs out of 
window] 

FLOS. Ned, Ned, don't leave me alone. 

NED. I'll only be gone a minute. [Goes down ladder. Charlie unlocking 
door outside L.2.] 

FLOS. What's that? [Stops and listens] Someone is unlocking the door, 
they are coming back. [Key heard rattling in loc\. Flossie starts to exit R.2.; 
Charlie enter s t followed by Sam] 

CHAR. [Throws door open, grabs Flossie] Smart, ain't you, I've got you 
this time. [Flossie screams; Charlie places hand over her mouth, throws her 
on couch] Quick, Sam, the chloroform. That's the quickest. [Sam throws 
down bag, produces bottle from folds of his frocf^ and administers chloro- 
form] The boy has escaped. He has given the alarm. We are in a trap. 

SAM. No, we go up, not down. Lock the door. 

CHAR. [Locf^s door\ What do you mean? 

SAM. The roof. We are safe there; it is dark. 

CHAR. I see! You mean the fire escape? 

SAM. Yes. 

CHAR. But the girl? 

SAM. You go quick. I carry her. [Ned and bellboy pounding on door L.2. 
Charlie exits, fire escape and up ladder. Sam picJ(s up Flossie, throws her 
across his shoulder. Steps upon chair, from there through the window onto 
the fire escape and is seen ascending the ladder. Bellboy throws door open, 
wording at passkey. Ned enters followed by Brown and Mi\e. Crosses, 
throws open curtains Rz] 

BROWN. Too late. 

MIKE. Yes, the birds have flown. 

NED. They have fooled me this time, but I'll find her if I have to search 
every den in Chinatown. Mike, you go down the elevator. Brown, go down 
the stairs. Boy, you go down the fire escape. I'm going on the roof. [While he 
is speaking he has picked up the bag and opened it. Just as he finishes, he 
dumps out figure of Venus, from which bed-quilts fall, leaving the figure 
lying on the floor in the nude. Ned springs out the window and up the fire 
escape. Mi\e throws quilt over Venus and runs down stairs] 



FROM RAGS TO RICHES 141 

SCENE 3: Drop in r.Roof of the Waldorf-Astoria. 

CHAR. [Enter R.I. loo^s bacl(\ Come on, Sam. They are after us. Some- 
one's coming up the ladder behind you. [ Crosses L} 

SAM. [Enter R.I. with Flossie on his shoulders; looks bacJ(\ Damn, boy, 
he come up. 

CHAR. We are worse off than we were before. A mile in the air. No way 
to get down. That boy has alarmed the whole house. We are on top of a 
hornet's nest. 

SAM. We lay the girl down there. Hide behind chimney, catch boy, throw 
him off. 

CHAR. What will we do then ? 

SAM. Go down same way as we come up. [Exits L.I. with Flossie} 

CHAR. Good. Hurry, here he comes. [Hides behind tormentor R.] 

NED. [Enters R.I.] I feel as if I was on Washington Monument. If that 
Chink went down with my sister he'll be caught. If he's up here, I'll find him. 
[Charlie enters R. and creeps toward Ned on tiptoes'] 

NED. [Turns, pulls foife] Hold on there. Your Chinese friend dropped 
this on the fire escape. He must have known I'd need it. [Brandishes Sam's 
big foife. Charlie reaches for pistol] 

NED. Take your hand out of your pocket or 111 cut it off. [Jumps forward 
and slashes at Charlie} Throw 'em up. 

CHAR. [Throws up- hands} You're losing time. The Chinaman is the man 
you want. 

NED. Not so bad as I want you. Show me where he is or I'll cut your but- 
tons off. [Slashes buttons off of Charlie's coat. Sam enters L.i. creeps up be- 
hind Ned, pinions his arms behind him} 

CHAR. [Ta^es foife from Ned] Good boy, Sam. Now we will throw him 
down an air shaft. [Catches Ned by feet f swings around with his bac\ L. 
Flossie enters L./. Creeps up behind Charlie} 

NED. Let me go. Help, help. \Kic\s vigorously] 

FLOS. [Puts hand into Charlies bacf^ pocket and gets his pistol, points it at 
Sam] Drop him. 

CHAR. [Loo^s over his shoulder} That's what we are going to do over 
the edge of the roof. 

FLOS. Drop him or I'll shoot. [Charlie and Sam drop Ned to a sitting 
position} 

NED. Oh, what did you tell them to drop me for, Floss? They jarred all 
my teeth loose. 



142 CHARLES A. TAYLOR 

CHAR. [Pointing L.] There they come up through that sky light. Quick, 
Sam, we must fight. [Flossie loo^s over her shoulder L.] 

CHAR. [Grabs pistol from her, swings her into Sams arms R.] Take her 
down the ladder, Sam. I'll hold them off with this. Get my carriage. Don't 
wait for me, [Sam exits R.I., dragging Flossie. Charlie crosses to R.I., keeps 
Ned of with pistol} 

NED. [Crosses L. beckoning off] Hurry, fellows! Here they are, quick or 
they'll get away. [Charlie turns and exits R.i. Ned follows Charlie off R.x. 
on the run. Charlie shouts offstage R. Ned enters R.i. f staggers C. clutch- 
ing his arm ] 

MIKE. [Enters L.I.] What's the matter, Ned? Are you shot? 

NED. Yes, he winged me, but I still have a good pair of legs. Come on. 
[Exits R.I. on the run. Mother Murphy enters L,/. with Venus in her arms 
upside down. Runs C. puffing and blowing] 

BROWN. [Enters L.i. with pistol in his hand] What did you bring that up 
here for? 

MOTH. Faith, I don't know. Some one yelled "Fire" and I thought I'd save 
something. 

BROWN. You have her upside down, Mother. 

MOTH. So I have. All the blood will rush to her head. [Turns Venus over 
and wraps her in her shawl. Brown exits R.i. on the run] 

BELL. [Enters L.I., bare-headed, followed by police officer, with night-sticf(\ 
That's her, officer. She stole that out of Number 604. 

MOTH. You're a liar. I live at Number 13 Billy-Goat Alley. 

OFF. What have you in your arms ? 

MOTH. Me youngest child, sir. 

OFF. How old is she? [Sizing up the length of the bundle] 

MOTH. I don't know. I can't remember. 

OFF. You can't remember ? 

MOTH. She is just getting her teeth, sir. 

OFF. [Taps Venus with night-sficQ My, but she must be a hard nut for 
her age. 

MOTH. She has stiffening of the joints, sir. 

OFF. Well, come on. I'll take you both to the lockup. [Catches Mother 
and starts to pull her R. Brown shoots several shots in rapid succession in JR.z. 
entrance] 

OFF, Owowo wo. [Dodging] I guess we'll go this way. [Exits L./* on 
the run] 

MOTH. Come back here and help me down. [Exits L.r. Dar\ change] 



FROM RAGS TO RICHES 143 

SCENE 4 : Cellar in Chinatown. Drop in j. painted life bric\ basement. Backed 
by eight-foot platform. Same as used in Act I. Hole 4*4 cut drop R.C., 
backed by prop. Bric\s to breaJ^ away. This hole is eight feet from -floor open- 
ing onto platform. Door L.C. opening onto platform. Stairs coming down to 
stage. Return pieces R. and L. painted as wall of bric\ cellar. Holes represent- 
ing dog fennels. Dogs chained to these fennels. Bulldog chained to bottom of 
stairs. Pile of straw up C. Barrel beside stairs, upside down with lighted 
candle on it. Scene quite darfe Curtain discovers Chinaman in blue trousers 
held up by belt; white undershirt and bare arms. He is whipping and driving 
dogs bacl{ into fennels with blac\ snafe whip. 

SAM. [Enters from door at top of stairs, descends and picfe up candle ; holds 
it aloft and shades eyes with hand] Prince Charlie, Prince Charlie! All right 
come down. 

CHAR. [Carrying Flossie in his arms, descends stairway; pauses part way 
down] What an ugly brute. Will he bite? 

SAM. All right, come on. I no tell him hurt you. He bite by and by. 
[Charlie descends and stands Flossie on her feet L.C.] 

FLOS. [Crying softly, crouches behind Charlie to get away from bulldog} 
Don't let him bite me. Please don't. Keep him away. 

CHAR. Oh> he's not the only dog here. Look about you. There are other 
dogs. 

FLOS. [Looking timidly about her as Sam holds candle aloft so she can pene- 
trate the dar\ corners. She shudders and clings tightly to Charlie's arm] Yes, 
I see them and you are the worst looking dog of them all. You, I mean. 
{Pointing to Sam. Sam grins and shows teeth] 

CHAR. That's right. Show your teeth. 

FLOS. So this is the end of my honeymoon. I would have never believed it. 
I expect every minute to wake up and find the past few hours a horrid dream. 

CHAR. You can wake up if you only say the word. You said you pre- 
ferred rags to my offer. 

FLOS. And so I do. I hate you, Charles Montgomery. 

CHAR. Then why do you cling to me? 

FLOS. Because I am afraid of the other dogs. 

CHAR. Still full of spunk. By my word, I hate to leave you here. 

FLOS. You couldn't be so cruel? You wouldn't be as bad as that, would 
you, Charlie? [Hands on his shoulder] 

CHAR. Do you know where you are? These dogs are mad. Their bite 
means a horrible death. 

FLOS. I'm much safer with them than I am with you. Go. 



144 CHARLES A. TAYLOR 

CHAR. Come on, Sam. Bring the light. I guess a little of this will cause 
her to change her mind. [Starts up stairs} 
FLOS. Please don't take the light, I'm afraid of the dark. 
CHAR. Oh, it's not the dark that will hurt you. Are you going to tie her, 
Sam? 

SAM. No. He no let her come up. [Pointing to bulldog; mounts stairs. 
Chinaman whips dog bac\, follows Sam] 

FLOS. [Clutches him by belt and pulls him bacl(\ Don't go. Stay here. You 
have a whip, you can keep them away. [Chinaman raises butt of whip to 
stride Flossie} 

CHAR. [Pulls pistol and points at Chinaman] Hold on, you yellow dog. 
Strike that girl and I'll blow your brains out. Put down that whip and come 
up here. [Chinaman lowers whip, runs up stairs] 

SAM. [Begins a string of cuss-words^ at other Chinf(\ Mucker hy pink 
ky tie pep wo w-wow yip. 

CHIN. Yip wow wow yip pink ky tie no brow ky tie mucker hy loo. 

SAM. Mucker hy loo damn fool. [Crosses Charlie on steps, followed by 

other Chinaman. Sam stands on the platform at top of steps and as other 

Chin\ passes, Sam J(ict(s him f then stands at top of steps and holds candle for 

Charlie] 

FLOS. Why didn't you let him strike me. I'm better dead than left here. 
I shall die of fright. 

CHAR. I don't want you to die. I didn't bring you here for that. I want to 
give you a chance to reflect and be a good girl. 

FLOS. Be a bad girl, you mean. Do you think I could give myself to you 
after what you have done. No, I mean to kill myself. 
CHAR. Oh, you wouldn't do that. 
FLOS. Don't be too sure. [Bows head on foees in prayer] 
CHAR. Good night. I said "Good night," Flossie. What are you doing? 
[Flossie turns around and holds up the cross from the beads she is saying] 
CHAR. What's that, I can't see? 

FLOS. The cross mother gave me the night she ran away. 
CHAR. Bah. Cling to it. Lots of good it will do you. [Turns, runs up stairs 
and slams door shut. Ray of white light shines under door and into Flossie's 
face as she remains \neeling and whispering her prayers. Soft music of sacred 
hymn. Ned heard tapping bricks of rear wall with iron bar on top of plat- 
form. Bricks fall to floor one at a time, but Flossie does not turn to see what 
causes the sound. Soon Ned is seen through the hole, sitting astride the sewer 
pipe and %noc\ing out bric\s. Mi\e holds a lantern down through a man- 
hole just above him. Rope hangs from man-hole to platform. Ned tafa the 



FROM RAGS TO RICHES 145 

lantern from Mi\e and ties it to the end of rope and lowers it over wall into 
cellar] 

NED. Flossie, Flossie! 

FLOS. [Turning] Ned, Ned, my brother. [Falls fainting on the straw] 
NED. She's down there, Mike. When I tell you fellers to pull, hoist her up. 
[Sam, followed by Chinaman, opens door and starts down stairs. Ned pelts 
them with bricks and holds them at bay until Mi\e fulls Flossie to safety. 
Chinaman whirling around center with bulldog fastened by his teeth to the 
seat of his trousers. Other Chinas around him pelting dog with bric\s but 
hitting the Chin^ They are \ept busy dodging bric\s which Ned throws 
from above] 

ACT IV. 

A palace on the Hudson one month later. Scene shows old Montgomery 
summer home. Big stone mansion, well off L. Broad stairway leading to 
verandah, open doorway off LJZ V backed by curtain. Backdrop landscape 
showing the river. Stone wall covered with ivy, across in j. Center gateway 
with large posts. Wood wings R. and L., foliage borders. Rustic table and 
chairs down L. Garden bench down R. Curtain discovers: 

FLOR. [In summer gown; on the table are flowers which she is sorting] 
One whole month since I heard from Charles Montgomery. He has left me 
in sole possession of this beautiful estate. His infatuation for that doll-faced 
girl was a lucky thing for me. He will never dare come back to this country 
with a term in prison staring him in the face. 

LEW. [Lewis, same as character in Act IIL Enters L.J.] Your lunch, 
madam. Where shall I serve it? 

FLOR. Out here, Lewis. The weather is too nice to go indoors. I expect my 
attorney. You may serve for two. 

LEW. I've been wishing to speak to you in private, madam. 

FLOR. What is it, Lewis? 

LEW. I'm obliged for your bringing me here from the city and paying me 
big wages, but I must give my notice, madam. 

FLOR. Tired of the country life, already? 

LEW. Not that. The police watch this place. They make me nervous. I 
got what you call the Holy Dread. [Shrugging shoulders] 

FLOR. They are looking for Prince Charlie. You've read the papers. You 
know what for. They'll not molest you nor L 

LEW. I am not so sure. I am not satisfied. 

FLOR. Very well, sir, you may go. 



146 CHARLES A. TAYLOR 

LEW. Thank you. 

FLOR. When your month is up. 

LEW. What? When my month is up. Never. By then I will be in jail six 
months. [Shading head, exits L.2.] 

FLOR. Fool, he is easily scared like all the rest. Money will do anything. 
The police will never molest me. I was careful to cover my moves in the 
game. Now I am rich, powerful. In the position I have worked so hard to 
gain. [Exits R. Sam, disguised as common laboring Chinaman in plain 
blouse, blac\ slouch hat, and small package done up in red bandana handler- 
chief, enters C,, crosses, loofc in door without seeing Flora] 

FLOR. [Reenters] Here, fellow, what do you want? Get out or I'll set the 
dogs on you. 

SAM. [Turning and showing teeth in smile} I no feared of dogs. 

FLOR. Sam, I didn't know you. How dare you come here ? 

SAM. Prince Charlie, he told me, he afraid. 

FLOR. Then he's in hiding here; didn't go to Europe? 

SAM. Europe too far. 

FLOR. What does he want? 

SAM. Money. 

FLOR. He won't get it. 

SAM. I no know. 

FLOR. I do know. 

SAM. I think you got green eyes. 

FLOR. I like your impudence. 

SAM. You hate little girl with big mouth. 

FLOR. What! Me jealous of that little beggar? 

SAM. She no beg, she fight. Her bludder, the littey feller, he fight like hell, 
He bloken up my business. No good. 

FLOR. [Laughing] Yes, I read in the paper your business had all gone to 
the dogs. 

SAM. Yes, dogs all gone. By and by police catchey me, catchey you, catchey 
Prince Charlie. Catch" whole damn business, 

FLOR. Sit down, Sam. I won't let them catch you. 

SAM. Me sit beside you? What I catch? 

FLOR. Catch me, if you do what I ask you. I'll not hurt you. Sit down. 

SAM. [Sits cautiously on end of bench] This like old times on Pell Street. 

FLOR. I want you to give me some of that stuff that puts people to sleep. 

SAM. What for? Old man dead. You got plenty money. 

LEW. [Enters L.2.] I believe I'm standing on my head. I'm either crazy or 
I'm back in the Latin quarter in Paris and don't know it. [Exits La. Mother 



FROM RAGS TO RICHES 147 

Murphy, with an expressman bearing a small tin trunJ^ tied up with rope on 
his shoulders enters C. Expressman lets trunl^ down with a thud. It breads 
open and old shoes, petticoats, canned goods and so forth jail out. Flora 
springs up with a scream} 

MOTH. Good morning. 

FLOR. What are you doing here, woman? 

MOTH. I've come to spend my summer vacation, but if you keep boarders 
with pigtails I'll look up another boarding house. Here, pick up those things. 
I'll sue you for damages. [Expressman gets on J^nees and fires clothes bac\ 
into trun\> pushing down with foot] 

FLOR. Here, man, take that rubbish out of my grounds; and you, woman, 
get out before I have you thrown out! 

MOTH. Easy now, don't get excited. I was invited here by the gentleman 
who owns these grounds and I'll not get out. 

FLOR. The gentleman who owns this estate is not in this country. 

MOTH. Oh, yes, he is. I saw him this very morning. 

FLOR. I don't believe you. I shall have you put out. Lewis, oh, Lewis, come 
here quick! [Exits La. Sam takes bundle and starts for gate C.] 

MOTH. Here, Chineser, where you going? 

SAM. I go buy bar of soap for my laundry. 

MOTH! You'll have bars in the laundry where you're going and they won't 
be bars of soap either. Get hold of that trunk and help this man take it in the 
house or 111 run this umbrella through you. [Poking Sam with umbrella] 

SAM. What for, you fool? I not got time. I'm busy. [Starts up} 

MOTH. [Catches Sam around nec/^ with crooJ^ of her umbrella} Come 
back here. I'll keep you busy. [Sam grabs handle of trunT^. Mother whac\s 
Sam over bacT^ with umbrella and Sam and expressman exit L.2. with trun\, 
on the run} 

MOTH. I'll show them who's boss around here. This place belongs to me 
boy, and if he's not here yet I'll take possession in his name. They won't bam- 
boozle Mother Murphy. [Crash and bump off L.] There goes me trunk. 
They let it fall downstairs. [Picf^s up shirts and starts to exit up stairs} 

Ex. [Enters La. wiping forehead with red handkerchief} Fifty cents, 
please. 

MOTH. Fifty cents for what? 

Ex. The trunk. 

MOTH. It didn't cost but forty. Look at it, look what's left of it. [Pointing 
off L.] Get out of this or I'll have you arrested for assault and battery. 
[Throws expressman off of steps, chases him out of gate C. f striding him over 
head with umbrella} Fifty cents. I'll give him fifty cents with the bumber- 



148 CHARLES A. TAYLOR 

shoot. [Exits L.2, Lewis enters L.2. as if thrown out. Palls down steps. PicJ(s 
himself up and shades fist off L.] 

MOTH. [Off L.] Out,. you pigtailed heathen, out I say. [Sam stumbles out 
L.2. with head stuc\ through an oil painting, broken frame over his shoulders. 
Mother throws flower pot through door at him} 

FLOR. [Enters L.2., screaming, with fingers in her ears. Crosses R. to Lewis 
and Sam, who are behind bench] See, she has ruined my beautiful oil paint- 
ing of the battle of Santuary. [Removes wrec\ of painting from Sam's necJ(\ 

LEW. I think it is the battle of "Who'll run," ma'am. 

FLOR. Why don't you protect me, Lewis? Why don't you put her out? 

LEW. Didn't you see me put her out? 

SAM. Come outside, Irish. [Brandishing big tyiife. Mother throws a lamp 
at Sam through door. Sam jumps aside, Lewis catches lamp} 

FLOR. Run, Lewis, run and get the police. The woman's crazy. 

LEW. We are going to be dispossessed. [Looking at lamp and picking up 
wrec\ of frame, flower pot, and so forth} 

CHAR. [Enters C. in excited manner. Wears long linen duster, driving 
gloves, cap, with carriage whip} Flora, Sam, quick. I'm followed. I must 
hide. 

SAM. Let us all hide. 

LEW. In the house? [Pointing} Not me! 

CHAR. What's the trouble here? 

FLOR. That Irish woman. She's gone mad, taken possession of the house. 

CHAR. I am still master here, though I am a refugee. They have me cor- 
nered and I must hide. This is the last place they will search. Follow me. We 
will take care of the Irish. [Exits La. followed by Flora. Lewis falls upstairs, 
dropping bundle of wreckage, Sam has his tyiife out and is cautious and loop- 
ing for a fight. He exits L.I.] 

MOTH. [Enters, creeping about corner of house L.I. She has sleeves rolled 
up and an axe} Now, where the divil did they go? [Carriage containing 
Ned, Flossie, and Gertrude, all in stylish clothes, drives up to gate C.] 

NED. [Jumps out f assists Gertrude to alight} Come on, mother, [Flossie 
jumps out by herself. Gertrude enters gate with arm about Flossie, who is R., 
and Ned, who is L. Carriage draws off R.] 

MOTH. May your shadows never grow less, but that's a sight for my poor 
old eyes. The mother and her children united at last. 

NED. Don't cry. You shall be our mother still. 

FLOS. Yes, our grandmother. 

MOTH. What's that? A grandmother? I'll have you to understand I'm 
only four and twenty. 



FROM RAGS TO RICHES 149 

NED. Mother, we are rich. The lawyers tell me I've won my suit. 

MOTH. Why didn't you win a swallow-tailed one while you were at it? 
You look like a Baxter dude; and Flossie, your heels are so high you'll break 
your neck. 

NED. You don't understand, Mother. We have come to take the law on 
these people. This home is to be ours when the papers are served. 

MOTH. Well, I've quit selling papers, but I've got possession here and that 
is nine points of the law. 

GERT. My children would not wait. They were so eager to see this estate 
they have fought so hard to gain. 

FLOS. Yes, I'm going to have Prince sent up for ten years. It would have 
been cheaper for him to marry me. 

NED. You're a silly goose, Floss. Now you've got the money without the 
man. 

FLOS. What is money to me without the man? [Crosses L. f loofe off] 

GERT. [Shading head] I believe she loves him stilL 

MOTH. She's a fool. A girl of her age will fall in love with anything that 
wears breeches. 

NED. [Sitting at table, founding bell] Let us have some refreshments. Is 
there no one at home? Sit down, Mother. Sit down, Floss. 

MOTH. Hist, Ned, there's a hornet's nest around here somewhere. You 
don't want to stir it up. 

NED. What are you doing with that axe? 

MOTH. There is a monkey here with a tail as long as me arm. I'm going 
to amputate it. 

LEW. [Enter L.2.] What did you ring for? This is no public garden. 

NED. I rang because I was hungry. Bring out all you've got and be quick 
about it. 

LEW. You're a loafer. I'm not here to serve you. 

NED. Then I'll hire somebody that wilL I'm proprietor of this joint. 
[Crosses] There's your first week's wages, including tips. Now get to work. 
[Pulls out big roll of bills, hands Lewis several] 

LEW. Five, ten, fifteen, twenty-two, twenty-seven [Throwing up both 
hands and thrusting money in pocket], I haven't time to count it. Oh, Lewie, 
Lewie, you must be smoking! You are a gendeman, monsieur. I serve you 
for the rest of my life. Ladies, what is your pleasure? 

FLOS. Bring me a cocktail with a cherry and some low-necked clams. 

GERT. Floss, I'm surprised at you. 

LEW. She shall have them, madam, if I dig them myself. One minute I 
will serve you with wine. [Exits L.2.] 



150 CHARLES A. TAYLOR 

NED. Hear that, ma, we're going to have wine. I tell you, girls, money is 
the thing that talks. [Pulling a big handful of bills and commencing to shuffle 
them li\e cards} 

MOTH. I it could beat that waiter talking I wouldn't want that roll under 
me pillow. Me, oh my, that must be a million dollars. Think of all that talk- 
ing to I need. 

NED. Here, Mother, buy yourself a house and lot. [Hands Mother several 
bills] 

MOTH. You're getting extravagant. You'll be broker in the morning and 
back to selling papers. How much is this ? I can't read. 

NED. Sixteen hundred dollars. 

MOTH. [Drops axe and places hand to her head, staggers over and jails on 
bench] Do you want me to die of heart disease? [Turns bac\ to Ned, pulls 
up dress and stuffs money in her stocking. She has on old stockings, one red 
and white; the other light blue. Lewis enters in rush, LJL. Places tray with 
bottle of wine and glasses on table, Ned, throwing feet up on table and tilting 
chair bac\ and peeling off bill from roll, which he hands Lewis. Lewis 
stumbles up stairs in his haste to exit, L.2.] What's the matter with that fel- 
low? He must have the blind staggers. 

NED. He has the disease they all get when they see the long green. 

MOTH. I'm going to look for that Chineser. [Ascends steps L] 

GERT. My children! You have just been restored to me. I don't wish to 
deny you any pleasure, but the wine cup will be your ruin. Promise me you 
will drink no more. 

FLOS. I promise, mama. I thought it was the swell thing to do. 

LEW. [Enters La. with bottle of wine] Pardon, monsieur, if I have kept 
you waiting. This is one hundred years old. 

NED. No wonder you was a long time getting it. Take it into the house 
and drink it yourself. 

LEW. We we, Gates [Exit L.2.] 

NED. I'm a Gate this time, next time I'll be a door, I guess I'll introduce 
myself. [Starts up steps] 

GERT. Where are you going, Ned? 

NED. To look for trouble. You stay here. 

GERT. Better wait till your attorney arrives. 

NED. Tell them I've taken possession. [Exits La] 

CHAR. [Enters L.I., doffs cap] Ladies, this is a pleasure, I assure you. 

GERT. Charles Montgomery, what are you doing here? [Raising her arm 
and throwing it about Flossie] 



FROM RAGS TO RICHES 151 

CHAR. If you will permit me to be so bold, I might ask you that same 
question. 

GERT. We are here to claim our own. The courts have granted the estate 
to my son. 

CHAR. Indeed, and what is to become of me? 

GERT. That is for the courts to decide. If you are caught, you will likely 
go to the penitentiary, where such men as you belong. 

CHAR. See here, woman, I'm desperate. I know I've wronged you, but 
you've had revenge enough. I'm ruined. You have all the money and prop- 
erty which is rightfully mine, I am at your mercy. These grounds are sur- 
rounded by officers of the law. Your damned husband and boy have run me 
into a trap. My only chance to escape is that you will aid me. Come, what do 
you say? 

GERT. No! After the disgrace, the sorrows you have brought into my life, 
I have no feeling for you but contempt. I shall be glad to see you punished. 

CHAR. Then you refuse? 

GERT. Yes. 

CHAR. And will tell them you have seen me here? 

GERT. Yes. 

FLOS. I won't, Charlie. Ill cut my tongue out first. Please, mama, let him 

g- 
GERT. I'm not stopping him. Look into my face. Do you love this man, 

Flossie? [Flossie bows head, begins to cry] Look, Charles Montgomery; see 
what your lying tongue has done for this poor child! Robbed her of an 
affection that should have been bestowed upon someone more worthy. A love 
so pure and strong it would shield you now. For her sake, go, and our lips 
shall remain sealed. 

CHAR. I love the girl and would make her my wife. Give her to me and 
I will try and atone for the past. 

GERT. Too late. I would rather see her dead. You are a criminal. You have 
nothing but disgrace to offer her. 

CHAR. You're right, I'm a lost soul. There's not a ray of light or hope be- 
fore me. 

FLOS. [Advancing and giving him her hand] I shall pray for you every 
night, Charlie, just as long as I live. 

CHAR. Good-by. I shall never be taken alive, but if I escape, your kind 
words and the knowledge of the love I once cast aside will help me to be a 
better man. Good-by. [Bends and pisses Flossie's hand, crosses up to gate. 
Flossie puts handkerchief to eyes, crosses down L. to Gertrude who puts arm 
about her] 



152 CHARLES A. TAYLOR 

ALB. [Enters C. in neat business suit] Hold on. I have something to say 
to you before you go. 

CHAR. Albert Cooper, what the hell do you want? 

ALB. Satisfaction for the long days and nights I lay in a cell and grieved 
for a wife and children you stole from me, and then left to die of starvation 
and hunger, 

CHAR. Can't you forgive me? Your wife and daughter have done so. 

GERT. It is false. I did not forgive you; neither has my daughter. We were 
only sorry to see you fall so low. 

ALB. There are some wrongs you can't ask a man to forgive. Come, 
Charles Montgomery, you must give me satisfaction. [Throws off coat. Flora 
enters L.2, Stands at top of steps] 

CHAR. If it is. any satisfaction to see me die, look with all your eyes. [Pulls 
pistol, attempts to shoot himself in heart] 

ALB. [Springs forward and wrestles with him] Kill yourself? Not if I 
know it! [Pistol is discharged between them] 

FLOR. [Places hand to her breast] Charlie, Charlie, you've shot me! [Falls 
to porch and rolls down the steps. Albert and Charlie separate, Albert L. with 
pistol, Charlie R. Lewis enters to top of steps] 

CHAR. Cooper, that is your work. You have killed that woman. 

ALB. [Kneels by Flora, places hand on heart] Her heart beats. She's not 
dead. Quick, someone, get a doctor. We will take her in the house. \MiJ(c and 
Brown enter C. Mif(e crosses L. to Albert. Charlie starts up C.] 

BROWN. Stop. Where are you going? 

CHAR. To get a doctor. That woman has been shot. 

BROWN. Who shot her ? 

CHAR. That man with the pistol. 

FLOR. [Raising herself and clinging to steps] Help, I want water. Charlie, 
I'm dying. Why did you shoot me? 

BROWN. She says you shot her. 

CHAR. She don't know what she is saying. It was an accident. 

BROWN. Oh, then this man didn't shoot her ? 

CHAR. No, we struggled for the weapon. I meant that bullet for myself. 
[Gertrude \neels by Flora. Lewis enters La. with glass of water; hands to 
Gertrude, who places it to Flora's lips. The water turns red as she drinks] 

FLOS. Oh, why doesn't someone run for a doctor? 

GERT. It would do no good. The woman is dying. 

CHAR. I wish it was me instead of you, partner. We've played a losing 
game. 



FROM RAGS TO RICHES 153 

FLOR. I got what I deserved. I made you what you are, Charlie. It was all 
my cursed love for gold. Lots of good it will do you beggars. [Staggering to 
her feet] Take me inside the house, Lewis, away from these. Don't look at 
me with pity. I don't want it. If you gain possession here, it will be over my 
dead body. I hate and defy you all. [Lewis, supporting Flora, leads her off 

L.2.] 

CHAR. Let me go to her. [Starts L.] 

MIKE. No, you must come with me. I have a warrant for your arrest. 
[Produces handcuffs] 

FLOS. [Crosses C.] Let him see her, Mike, just a few minutes, for my 
sake. 

CHAR. Ill not run away or do myself any harm, I promise you that. 

FLOS. Please, Mike. [On her foees] 

MIKE. All right, go ahead. 

LEW. [Enters L.2.] Quick, sir, the madam wants you. She is dying. 
[Charlie exits L.2. followed by Lewis and Mi\e. Flossie bows head crying] 

ALB. [Throwing arms about her] Don't cry, daughter. He's not worth it. 

FLOS. Father, have you that rose I gave you the first night we met? 

ALB. Yes. It's been over my heart every hour since then. [Hands Flossie 
rose from inside pocket] 

FLOS. It shall remain on mine till the judgment-day. 

MOTH. [Enters L.i* leading Sam with a rope about his nec\, his hands tied 
behind his bac\, and Ned hanging bac\ on his cue] Come along here, you 
son of Pekin. 

NED. Here he is. This is the man you want. Go long, Sam. Get a bag, 
Floss, and we'll throw him in the river. [Brown ta^es rope from Mother and 
pulls Sam over R. Handcuffs him] 

NED. Hello, father, what's the news? 

ALB. I've the deeds for your property, my son. [Handing legal papers] 
We have received justice at last. My little family is united. We will begin a 
new life from today. [Messenger boy enters gate followed by newsboys and 
characters from the Bowery] 

NED. Father, this is the gang from Chatham Square. I've invited them up 
to dinner. 

THE END 



NO MOTHER TO GUIDE HER 
By Lillian Mortimer 



SCENE PLOT 

ACT I 

Landscape drop in full stage. A set house on the left side of stage. Porch 
with raised platform if convenient. A fence with gate center, up stage in 
front of drop. There is a garden bench or chair down R. If desired there is 
a tree center. Other furniture to dress stage as a farmer's home. 

ACT II 

Should be a dense woods, with a gypsy camp in foreground. There should be 
a tree over left. Or left center. A tripod with fire effect under fettle is right. 
There may be the bacl^ of an old wagon showing, if available and desired. 
Stumps or fyegs to represent same about the stage. And a small tent up stage. 

ACT III 

Livingstone's room, as described in Act. 

ACT IV 

A wood, or roc\y pass, or almost anything of this type will suffice. Or same 
set or same exterior used in former act will do. Except there is a cabin on 
stage left. 

PROPERTY PLOT 

ACT I 

Small "kitchen table, and cover. Two chairs. Two boo\s. Double-barrelled 
shotgun. Newspapers. Rocking chair. Sofa. Market basket. Suitcase. Bundle 
of sticks. 

ACT II 

Four grass mats if available. Three stumps, or \egs. Bass drum for thunder. 

ACT III 

Telephone. Fancy chairs and rocker. Dresser, if available. Carpet and rugs. 
Center table and cover. Fire log, andirons and tongs. Small clocT^. Glass for 
crash off stage. Soap box. Step ladder. HassocI^* Rope. 

ACT IV 

Table. Stumps, etc. Drum bass. Kitchen chair. 



CAST OF CHARACTERS 



JOHN LIVINGSTONE, a ban\ robber 

RALPH CARLTON, in love with Rose 

SILAS WATERBURY, the town constable 

JAKE JORDAN, an escaped convict 

FARMER DAY, Rose's father 

ROSE DAY, secretly married to Ralph 

LINDY JANE SMITHERS, in love with Silas 

BESS SINCLAIR, a shop girl 

MOTHER TAGGER, a tool of Livingstone 

BUNCO, comedy soubrette 

HARRY* PATENT 

TOMMY FISCHER 

WALTER PERKINS 

FRANK CALDWELL 

PARSON THOMAS 

OFFICER KEOUGH 

POLICEMAN TODD 

CAPTAIN HENNESSY 

TIME: PRESENT. 

PLACE: NEW YORK STATE. 

SYNOPSIS OF SCENES 

ACT i: HOME OF ROSE DAY. THE MURDER. 

ACT II : THE GYPSY CAMP. TORNADO. 

ACT III : IN THE BIG CITY. THE BANK ROBBERY. 

ACT IV : OLD HUT IN THE HILLS. THE WAGES OF SIN. 



the sweet-singing gypsies (off stage) 



officers 



ACT I. 

AT RISE: Lively music. Lights, sunshine. Strong yellow lights. Farmer Day 
discovered seated on rocker on porch L. reading paper. Lindy standing at 
gate shading her eyes. Has sunbonnet on. 

DAY. See anything of Rose, Lindy? 

LINDY. No, and it's nigh about time she was comin' home. Three weeks 
is a long enough visit fer any gal. There comes that city feller. I don't like 
him. I think he's set on makin' love to Rose. 

DAY. Well Lindy, he seems like a pretty good feller. 

LINDY. Good? Shucks I wouldn't trust him as fur as I can see with my 
eyes shut. If I was a gal I'd ruther have that other feller. He's lookin' mighty 
calf -like at our Rose too. Oh but I'll be glad when both of 'em is gone. I don't 
like keepin' summer boarders nohow. [Livingstone enters gate up C.] 

Liv. Ah, Miss Lindy, how well you are looking. [Lindy business. Crosses 
R.C. and sits] Reading the evening paper, Mr. Day? What's the news? [Liv- 
ingstone standing R.; business with shotgun} 

DAY. Hain't read none yet. Got a job? 

Liv. No, but Farmer Bailey wants someone to oversee his farm next 
month. I can have that if I want it. 

DAY. That's a good job better take it. 

Liv. I think I shall. I've got some money put away but I don't want to use 
it till I get married, to buy a little home. 

LINDY. [Sitting under tree, C.] And how much do you happen to have, 
young feller? 

Liv. Oh, about ten thousand. 

LINDY. Make it yerself ? 

Liv. No, my grandmother left it to me. 

LINDY. More fool she. 

Liv. Well I'm not a fellow to beat around the bush Mr. Day. I'm in love 
with your daughter. 

LINDY. There now, what did I tell you? 

Liv. Fd like to marry her buy a little home and settle down. 

LINDY. Well, ef Rose was my gal 

DAY. Hush, Lindy. Wall I'm in no hurry fer my gal to marry, Mr. Liv- 
ingstone, but whoever wins her heart kin have her 111 not stand in her way. 



160 LILLIAN MORTIMER 

And when I'm gone there'll be a tidy sum for her too, so she won't be be- 
holdin' to her husband. 

Liv, Oh, you have some money in the bank here? [Crosses down below 
steps L] 

DAY. No siree. I don't trust no banks with my money. I- keep it right here 
in the house. 

LINDY. Yes, and a bigger fool I never see. Some morning you'll wake up 
with yer throat cut from ear to ear. 

DAY. I'm not afraid, Lindy. [Silas enters, glasses on and newspaper open} 

SILAS. Gosh see the paper? 

LINDY. What's up? 

SILAS. Stebbin's bank broke into and robbed at three o'clock this morning. 

DAY. You don't say? [Loo{s at his paper] 

SILAS. Yes siree. Found the watchman tied tand and foot. 

DAY. Get much ? 

SILAS. Five hundred dollars. 

LINDY. Land sakes. [Looking over Si's shoulder at paper] 

SILAS. Town constables are lookin' up the records of all strangers in town. 
\Loo\s at Livingstone] 

Liv. [Laughs] Lucky I can give a clear account of myself I was in bed 
by ten o'clock last night. 

DAY. That's what ye were, Mr. Livingstone, but yer pardner wasn't in last 
night, was he? [Rises] 

Liv. [Crosses R.] No, he hasn't come back from the city yet, I expect him 
tonight. [Silas busy C. following Livingstone] 

DAY. I guess I was right about the banks, eh Lindy? [Exits in house] 

LINDY. Oh, I don't know. [Crosses to house] 

SILAS. Oh that reminds me 

LINDY. Comin' inside, Si? 

SILAS. Don't mind ef I do. Got something to say to you, confidential. He, 
he. 

LINDY. Oh you get aout. [Exits in house] 

SILAS. Wait for me Lindy. [Trips on stairs] Dern them steps, [Exits after 
Lindy] 

Liv. [Crosses to house] Well, I suppose the safest thing for me to do 
would be to light out. That was the neatest job I've done in some time, and 
if I wasn't so in love with that girl Rose [Mother T, enters gate from CJL. f 
loo^s round, sees Livingstone] 

MOTH. T. St. John. [Weird music] 



NO MOTHER TO GUIDE HER 161 

Liv. Mother! What are you doing here? Anything wrong with the 
money ? 

MOTH. T. That's safe enough but I'm afraid we had better move on. 
They'll be sure to suspect us. 

Liv. Well they can't prove a thing. I want you to hang around for a day 
or two I may have work for you. But don't come here again unless I give 
you the signal. You shouldn't leave the camp. 

MOTH. T. But I must have a leetle whiskey, my boy a leetle drop of 
whiskey. I can't send anybody [Close to him] 

Liv. Whiskey? Why you're stupid with whiskey now. [Crosses to R.] 

MOTH. T. Cruel boy I haven't had a drop today. [Follows him R.] 

Liv. Bah! 

MOTH. T. It's the beautiful truth, I swear. 

Liv. Shut up. Here. [Gives her flasf(\ Now be careful. Don't get drunk 
and blab. 

MoTH.T. Trust me, darling. Whiskey makes Mother Tagger's brain 
work. Without it, it would stop. [Drinks, puts bottle in apron pocket] 

Liv. Well, be careful. 

MOTH. T. I have some news for you. Fine news he, he, he. 

Liv. Well, stop your cackling and tell me. 

MOTH- T. The child is dead. 

Liv. [Crosses L. then bac\ to her} Sh-hh How did you manage it? 

MOTH. T. With those hands. Choked the life out of it. Ah it's so easy to 
wring their little white necks. I love to hear them sputter and choke He, he, 
he. 

Liv. [Crosses L.] You make my blood run cold. Where is the body? 

MOTH. T. Buried in the wood darling. Buried where the beautiful violets 
grow. Ha, ha, ha. [Music stops] 

Liv. Well, the kid's done for and if the girl causes me any more trouble 
she'll go the same way. 

MoTH.T. Where is she now? 

Liv. I left her in New York the fool. 

MOTH. T. Ah young blood young blood he, he, he. [Drinks] 

Liv. [Crosses to R.] Beats the deuce how the women love me. I can't help 
it. 

MoTH.T. And now there's another one, eh? The girl with the pretty 
face. [Points to house L. Lights change to red sunset] 

Liv. Yes, but she doesn't seem to be in love with me. I can't understand 
it. But if she'll have me I'll settle down and be honest. If she won't well 
there'll be another job for you, mother. She'll love me. They always do. 



162 LILLIAN MORTIMER 

MOTH. T. Oh, you wicked boy. He, he, he. 

Liv. You'd better go now. 

MOTH. T. Oh you wicked boy he-he, he. [Exits gate C. to L.] 

Liv. [Pause, crosses to gate] Useful old devil. Well I'll go and jolly the 
old man, and find out where he keeps his money, then if the girl marries me, 
all well and good. If not I'll take her by force. Once in the Gypsy camp in 
Mother Tagger's clutches, she'll do as I say. [Exits into house] 

ROSE. [Runs on from R. with Ralph; runs up steps on porch laughing] 
Oh, how good it seems to be home again. Now don't look so blue, Ralph dear 
it will all come out right, I know. 

RALPH. [C.] I'm afraid it was a wild thing to do, dear. I ought to have 
asked your father's consent. 

ROSE. Oh but it's so much nicer to have a secret all to ourselves. Won't 
they all be surprised when I tell them we've been married for three long 
weeks. [Laughs] 

RALPH. You are so happy dear. May you never have cause to regret it. 

ROSE. Regret it? Why should I Ralph? 

RALPH. Well I've been rather wild, I'm afraid. 

ROSE. Oh, Ralph 

RALPH. Yes, dear. 

ROSE. Come here and sit down and tell me truly [Pushes Ralph to tree 
seat, sits L. of him] Mind now not even a little white fib. Did you did you 
ever love any other girl? 

RALPH. Well, sweetheart, I'll tell you truly if you'll also speak truly. Did 
you ever love any other man? 

ROSE. Why Ralph I [Crosses quickly to steps] 

RALPH. [Laughs cheerfully] Never mind dear, you needn't. I know you 
love me best of all. You are my wife and I am going to make you happy. But 
I have been wild. [Crosses to Rose] 

ROSE. But you have sown your wild oats now dear. 

RALPH. Yes, yes, but if you should hear that I have done something. 
[Ta\es hand] 

ROSE. Oh hush you couldn't do anything so bad if you had 

RALPH. Well? 

ROSE. You are my husband and I shall stand by you as a wife should. 

RALPH. God bless you, dear. [Kisses her hand] 111 try to be worthy of your 
love, and if in the future you should hear stories of me, remember how dearly 
I love you. My mother died when I was a boy, [Crosses to JR.] Had she lived 
But there I have you to love me now. Let me tell your father tonight. 



NO MOTHER TO GUIDE HER 163 

ROSE. No, no I shall tell him myself. I'm going in now. Oh, what a sensa- 
tion I shall create. Come in presently. [Livingstone enters from house] Oh 
good evening, Mr. Livingstone. [Ralph sits C.] 

Liv. Good evening, Miss Rose. Your visit has done you good. You look 
charming. [ Ta^es her hand] 
ROSE. Thank you. [Exits into house] 

Liv. Hello, Ralph. [Crosses to him] I just got in. Lucky you were not at 
home last night. The bank was robbed and all strangers are under suspicion. 
RALPH. [Rises in alarm] You don't mean 

Liv. Yes I do. Made a good job of it too. f Crosses to L.] Say what are you 
hanging around Rose for. You let her alone. I've made up my mind to marry 
her. 

RALPH. What? 

Liv. You heard what I said, and if you bust in, I'll make it damned hot 
for you. Understand? [Close to Ralph] 

RALPH. Don't try to intimidate me, Livingstone. I know you are capable 
of anything but you can't frighten me. 
Liv. Have you forgotten the Camden case? 
RALPH. I was innocent of that crime. 

Liv. Yes, but the evidence was all against you and we had to jump out. 
Now I've stood by you and if you don't stand pat, I'll send you to Sing Sing. 
Nothing could save you. [Laughs and ta\es out cigar] Have a cigar? [Ralph 
ignores him] Oh, take a cigar, and let's take a walk and talk this matter over. 
I don't mean you any harm. [Tafyes Ralph's arm; they go to gate] But don't 
interfere in my game, that's all. [They exit C. to L.] 

BUNCO. [Enters C. from R* Looi(s around] Well, dis place looks kinder 
respectable. Guess I'll have to hang out here tonight. Bess can't go no furder. 
Well here goes to tackle de landlady. Gee me feet is so heavy dey feels like 
hams. [Knocks at door] 

LINDY. [Calls loudly from within] Who's there? 

BUNCO. [Jumps bac\ to C.] Gee me heart's bumpin' a hole in me ribs, 
[Lindy opens door] Howdy. 
LINDY. Heavens on earth, child. 
BUNCO, Is it? First I'd heard of it. 
LINDY. Where did you come from? 

BUNCO. Aw say, lady don't look at me like dat. I haven't got me Sunday 
clothes on cause I was afraid de walkin' might spoil em. Me automobile brok< 
down and me and Bess had ter tramp from New York. 
LINDY. New York? Child alive, ye ain't walked from New York? 
BUNCO. Dat's right. 



164 LILLIAN MORTIMER 

LINDY. Where's yer father and mother? 

BUNCO. Dead. 

LINDY. Both of 'em? 

BUNCO. Yep poor things. 

LINDY. How did they die? 

BUNCO. Cut their throats eating peas with a knife. 

LINDY. Good Lord. An' ain't ye afraid to be tramping the country all 
alone? 

BUNCO. Nope I always carries dis. [Shows revolver] 

LINDY. [Screams] Oh Good Lord [Pushes it away] 

BUNCO. Don't be afraid, lady it ain't loaded. 

LINDY. [Sits on steps] Well I never What are you wearin' them there 
clothes this hot weather fur? 

BUNCO. Dese? 

LINDY. Yes. 

BUNCO. Well ye see, lady, dese is de only chilly weather clothes I got. I 
have to wear 'em [Shows bundle] cause me trunk is full. Oh say now, lady, 
I don't care for myself, but poor Bess is so hungry, and sick and tired. If you 
could take her in tonight and give her something to eat, I'd work for it. I 
don't know much about farmin' but you bet your life I could learn. 

LINDY. And who is Bess ? 

BUNCO. A poor girl what's seen lots of trouble. We worked in de factory 
togedder then a smooth-tongued feller comes along, and won poor Miss 
Bess den den left her wid her little baby. 

LINDY. A baby? I can't take her in. [Rises and goes up steps] 

BUNCO. Oh, don't say dat, lady. Don't be too hard on poor Bess, You see 
she's an orphan and ain't got no mother to guide her. She was just planning 
dying, so I thought if I could get her to the country, de beautiful trees, de 
green grass and flowers would do her good. [Pleading] Bess loves de flowers, 
she does. 

LINDY. Where is she now? 

BUNCO. Out there. [Points R.] Settin' under a tree, waitin' till I corne back. 
Say, take her in, won't you an' I'll work like de devil to pay you back. 

LINDY. You go fetch her right in. 

BU-NCO. Say, you'se de real article you'se are. I'll work fer you as dough 
you was my husband. [Exits gate C. to R.] 

LINDY. Well I never. That's a strange child. 

SILAS. [Enters from house] I say, Lindy 

LINDY. Was you a speakin' to me, Silas Waterbury? 

SILAS. [L.] Yes, I was a sayin' 



NO MOTHER TO GUIDE HER 165 

LINDY. Well say it again, and remember to call me Miss Smithers. 

SILAS. Now what's the use of bein' mad, Lindy, 

LINDY. Miss Smithers! [Turns] 

SILAS. Lindy, ain't ye ever goin' to change it to Mrs.? 

LINDY. Mebby I be mebby I been't. When I see a man as is a man. 

SILAS. Gol dern it, Lindy what am I? 

LINDY. The biggest fool I ever saw. 

SILAS. Oh you get out. [Sits on steps] Lindy I'm as tired as Tom Turner is 
busy. 

LINDY. What ? Lazy Tom Turner. 

SILAS. He ain't lazy no more. 

LINDY. No? 

SILAS. Nope. He's the busiest man in town. 

LINDY. Dew tell? 

SILAS. [Crosses to her] Yep he's got the seven year itch and a Waterbury 
watch, and when he ain't scratchin' he's windin' his Waterbury. 

LINDY. [Crosses up stage} You git out. 

SILAS. And that reminds me, when I was up to New York State last fall 
[Crosses up to gate} Jake Tod said to me, sez he Jumpin' Crocodiles look 
at that. 

LINDY. Shut yer head [Turns to Bess and Bunco who have entered} 
Come here, you pore young 'un. 

BUNCO. [Crosses to C.] Dere now, Bess don't get skeered. Old Spinach 
won't hurt ye. 

SILAS. That gal's makin' fun of my whiskers. 

LINDY. Ye pore critter how white ye look. There now don't be afeared 
and fer the land's sake don't cry. Si Waterbury what are ye standin' there 
for like a bump on a log. Go telj. Miss Rose to come here. Step lively. 

SILAS. I'm a steppin'. [Tr^ps upstairs] D$rn them stairs. 

LINDY. That's right break yer neck. \Buricq leads Bess C. to bench} 

SILAS. Not yet, by Ginger. [$$ifs into house} 

LINDY. Now you see here a minute. [Kneels beside Bess] 

BESS. Oh you are very kind. I have not been well. I I 

LINDY. Heaven's on earth don't flop. [Rises] 

BUNCO. Hully gee, Bess brace up. You see, lady, she ain't had nothin' to 
eat since yesterday. [On tyees beside Bess, R} 

LINDY. Lord love us nothing to eat since yesterday. You come right in- 
side. [Rose enters from house] 

ROSE. What is it, Lindy? 



166 LILLIAN MORTIMER 

LINDY, Land sakes, this poor critter ain't had nothin' to eat since yester- 
day. 

ROSE. Oh, you poor child. [Crosses to Bess] 

BESS. Fll be better soon. 

ROSE. Come right in. [Helps her up steps] You poor child. [Exits with 
Bess into house] 

LINDY. [L. of Bess] Yes come right in. Well get you something to eat. 
[Exits with others into house] 

BUNCO. [Crosses to house] We're goin' to get somethin' to eat. I can feel 
it in my bones. Geedis must be a dream. [Exits into house after others] 

JAKE. [Enters gate C. from R.] Dis must be de place all right. Looks as 
dough de Gov'ner struck it rich. He had a finger in de bank robbery you can 
bet, and de pretty girl dat lives in here is his game or I'm a gentleman. [Sits 
C] Wonder where he left de poor shopgirl he took a fancy to when he was in 
New York. Well dat's none of my business I'm broke and he's got to give 
me some coin. [Starts for house] Here comes de young lady. [Exits quickly 
gate C. to R.] 

ROSE. [Enters, speaking to Aunt Undy in house] All right, Aunt Lindy. 
[Enters with basket] 

LINDY. [Calls from inside] Rose Rose 

ROSE. Yes. 

LINDY. Get two pounds don't forget. 

ROSE. Yes two pounds of granulated sugar is that all ? 

LINDY. Yes. [Rose goes to gate singing] 

Liv. [Enters gate L.] How happy you are. Miss Rose. 

ROSE. Of course. 

Liv. Can you spare me a moment ? I have something to say to you. 

ROSE. No, no not now. I must run to the store. Aunt Lindy has taken 
a couple in; poor things are half starved. I am going to the grocery store to 
get some things. 

Liv. Let me have a few words with you tonight? 

ROSE. No no not tonight. [Exits laughing, gate C. to jR.] 

Liv. She is not indifferent to me. I'll win her yet. She shall be my wife 
before the month is over. \Up C. outside gate looking after Rose. Enter 
Bunco with pan of potatoes and foife] 

BUNCO. Hully gee look at de swell guy. Do you belong to dis house? 

Liv, [Crossing down fiercely] What's that to you? 

BUNCO. [Backing away] 'Cause if you do I'm goin' to move, I don't like 
de cut of yer lip, see? 

Liv. Get out, you tramp. Don't talk to me or 111 



NO MOTHER TO GUIDE HER 167 

BUNCO. [Points fyiife at him] Look cut don't run up against dis you 
might get a puncture. 

Liv. [Laughs] Say, you're not half bad. I like you. 

BUNCO. Well like me furder off. [Points knife again} 

Liv, Well, you are a character. 

BUNCO. You're annoder. 

Liv. I'll see you later. [Crosses up C. to gate} 

BUNCO. Yes you will. 

Liv. Au revoir, fair lady. 

BUNCO. Over the river you big bluff. [Livingstone exits gate C. to R., 
laughing. Bunco crosses to R. f sits thinking] Gee, I wonder who he is? I hope 
he don't own dis house. [Bess enters from house} Oh, Bess, come here and sit 
under de tree and see me peel potatoes. We're goin' to have dem for supper. 
Don't yer stomach feel just grand? I never was so full in my life. 

BESS. [Crosses and sits L} It's just heavenly, Bunco. I'd be so happy if 
my heart didn't hurt so. 

BUNCO. Oh, now, Bess don't say that. 

BESS. Oh, Bunco, I want my baby [Cn>^] My little baby. 

BUNCO. Now don't worry and de first baby I see layin' around loose, 111 
swipe fer you. I will honest. 

BESS. But that wouldn't be my baby, Bunco. 

BUNCO. Gee that's right. Well, all kids look alike to me. 

ROSE. [Enters gate C. from RJ\ Here you are. Do you feel better ? So Aunt 
Lindy has put you to work has she, Bunco ? 

BUNCO. Yes'm. She's going to keep Bess here till she's strong and well 
again. 

ROSE. I'm so glad. [Crosses to L.] There I've forgotten the sugar. 

BUNCO. Oh, gee. [Laughs} Let me go and get it for you. [Pan on seat R.] 

ROSE. I left it on the counter of the little store on the corner. 

BUNCO, [Crosses up C.] De little store over dere on de corner? [Points R.] 

ROSE. Yes straight ahead, Bunco. 

BUNCO. All right, miss, I'll be right back. [Exits gate C. to R.] 

ROSE. Would you like a book to read, Bessie? 

BESS. No, thank you, miss. 

ROSE. Perhaps you would like to come in and lie down. 

BESS. I'll stay here if you don't mind, miss. 

ROSE. Why, certainly I don't. There now, you mustn't worry. No doubt 
the future has much happiness in store for you. 

BESS. God grant it. But it looks very dark, miss. 



168 LILLIAN MORTIMER 

ROSE. You must be brave. I'll be back in a little while to keep you com- 
pany. [Crosses to house] 

BESS. Thank you, miss. [Rose exits house] 

BUNCO. [Enters gate C. from R. f singing. Carries sugar and a bunch of 
flowers] Say, Bess, you ought to see de guy what keeps de store down on de 
corner. [Laughs] He's a peach. Say, you can buy anything in dat store from a 
paper of pins to a beefsteak. Ain't dese sweet? Dey are fer you. [Gives Bess 
flowers] 

BESS. Oh, thank you, Bunco. 

BUNCO. I found dem growing right by de roadside. Oh, say, Bess, yer 
eyes is all wet. You've been crying again. Oh, gee. [Crosses down, gets pan] 
Just wait till I get dese in de house den 111 come out and tell you a funny 
story. [Laughs] Oh, brace up. [Exits house] 

BESS. Dear little flowers, I love you I love you. 

Liv. [Enters gate C. from L. f sees Bess] By Jove there she is. Now's my 
chance. [Crosses to tree] 

BESS. [Startled, recognizing him] John! 

Liv. Bess! 

BESS. [Into his arms] Oh, John, I've found you at last! 

Liv. [Annoyed] Now how did you get here? 

BESS. I have been so ill, John. Our baby has been stolen, but you'll find it 
for me, won't you, John? And now we'll be married, won't we? You prom- 
ised, you know, and I knew when you didn't come you were ill and in 
trouble. 

Liv. [Nervous] Yes 

BESS. They discharged me from the shop. The girls wouldn't speak to 
me all but Bunco. She brought me here. 

Liv. Sh-h don't talk so loud. Listen, you must come with me at once. 

BESS. Where? 

Liv. To be married. [Bunco enters, listens] 

BESS. Oh, you are glad to see me, aren't you, John? 

Liv. Yes, yes, of course. [Tenderly] Come, dear come with me. [Crosses 
upC.] 

BUNCO. Where are you going, Bessie? 

Liv. [In a rage] Stand out of the way. 

BUNCO. Well, I guess not. Bess, don't go with that guy, He means you 
harm. 

Liv. Come, Bessie. 

BUNCO. She shan't. [Stops Bess, tafes gun out of boot] Come and take 
her. Come in the house, Bessie. 



NO MOTHER TO GUIDE HER 169 

BESS. [Pleadingly, to Bunco] Oh, Bunco. 

BUNCO. Go in, kind lady. [Bess exits R. Bunco crosses to him] Say, I 
know you now. Listen, don't you come foolin' around Bess again or I'll put 
a bullet through your sky-piece. [Crosses up steps'} Dat's straight. [Exits 
house] 

Liv. [Extreme R., starts for her as she exits] Well, I'm in a devil of a hole 
if that girl blabs. I must go and see old Mother Tagger at once. [Starts for 
gate] 

ROSE. [Enters, apron on, fanning herself] Supper will soon be ready. 

Liv. [Taking her hand] Rose, will you be my wife? 

ROSE. Oh, Mr. Livingstone, I'm so sorry you said this. 

Liv. Why? 

ROSE. Because I am already a wife. 

Liv. What? 

ROSE. I like you so much and want you for a friend, but I have been 
married for three weeks. 

Liv. To whom? 

ROSE. To Ralph Carlton. 

Liv. [In a rage] Ralph Carlton! God! [Staggers] 

ROSE. [Cross R.] I am so sorry. 

Lrv. [Shades hands] I wish you every happiness. 

ROSE. Let us always be friends. 

Liv. Thank you, Rose. 

ROSE. [As she crosses to house] You'll be in to supper? 

Liv. [Sadly] Not tonight. 

ROSE. I am sorry. [Exits into house] 

Liv. [Crosses to house in a rage] So Ralph Carlton, you have come be- 
tween me and the woman I love. Well, you'll have a short honeymoon, my 
lady! Ha, ha you'd look well in widow's weeds. [Turn at gate. Ralph enters 
C. from L.; slowly down R. Savagely] Congratulations! 

RALPH, What do you mean? 

Liv. [Angrily] Oh, you know what I mean. Your wife has told me all. 
Married for three weeks, eh ? Nice way to treat an old pal. Why didn't you 
tell me before? You knew I loved Rose. 

RALPH. [C] She didn't love you. [Livingstone crosses L] Now, Living- 
stone, 111 admit I've been weak> but I swear from tonight on I intend to be a 
man, and make Rose proud of me. 

Liv. [Crosses to Ralph] And I swear that you shall go to Sing Sing. 

RALPH. For God's sake, Livingstone, you wouldn't do such a fiendish 
thing. What about Rose it will only break her heart. [Sin^s into seat C.] 



i 7 o LILLIAN MORTIMER 

Liv. Listen. The money I got from the bank last night I sent away. I'm 
going to jump out to 'Frisco and I'll need money. Now the old man has got 
money in the house. Tonight I want you to stand guard while I get it, then 
I'll go. We may as well part friends. Will you do it? 

RALPH. No! 

Liv. What? Then it's war ? 

RALPH. [Rises] Yes if it must be. 

Liv. [ Crossing L.] Do you dare defy me ? 

RALPH. We may as well understand each other now. I am innocent. Why 
should I fear you? But I believe I know the true murderer. [fa{e enters gate 
C+ from L.~\ 

Liv. What do you mean ? 

RALPH. I mean that I think you killed the old banker. 

Liv. [Draws foife, starts for Ralph] Soyou suspect me? 

JAKE. [Comes between them] Hold on, pardner. 

Liv. [Amazed] Jake Jordan. 

JAKE. Glad to see me, eh? [Business with Livingstone; J^nife. Then with 
revolver] Hold on dat's no way to treat an old pal. Give me dat knife. 

Liv. What? 

JAKE. Give me dat knife. [Does so] Dat's a nice boy. [Ralph exits gate C. 

to R.] 

Liv. [Crosses to L.] What do you want? 

JAKE. Just a little expense money, gov'nor. 

Lrv. I haven't any. 

JAKE. What? And de bank robbed last night, too? 

Liv. Sh-h-h how much do you want? 

JAKE. Dat's business. A twenty-dollar bill will do, gov'nor. 

Liv. How long do you intend to bleed me? 

JAKE. Jest as long as I need de money. But if ye get tired, ye can make a 
test wid a rope around yer neck, fer I'll squeal as soon as the money stops. 

Liv. [Starts for him] What? 

JAKE. Hold on! Give me de dough. 

Liv. Here [Gives him money] 

JAKE. Don't try to throw me over, gov'nor. I've got yeand I'm goin' to 
keep ye. Good-night. [Exits gate, L.] 

Liv. Damn him if I could only get a hold on him, I'd [Ralph enters 
gate. Has a complete change of manner toward him} Oh, Ralph let's be 
friends. I was too hasty. Help me tonight it will be the last time then I'll 
go away. It's the easiest way to get rid of me. 

RALPH. Let me think. 



NO MOTHER TO GUIDE HER 171 

Liv. All right meet me in the orchard at ten. [Exits gate, C. to L.] 

RALPH. [Sits under tree] What shall I do? I'd give ten years of my life 
to dig up the wild oats I've sown. 

ROSE. [Enters] Is that you, Ralph? 

RALPH. [Trying to appear happy] Yes, yes. 

ROSE. [Crosses to him] What is it? What's the matter? 

RALPH. Nothing, dear, nothing. 

ROSE. I thought I heard you heave such a dreadful sigh. Supper is ready 
come in. [Hesitates] You might ask me to kiss you before we go in. 

RALPH. [Kisses her] Rose God bless you. 

ROSE. I'm so happy, Ralph. 

RALPH. May you always be happy,*dear. [Exits with arm about her] 

Liv. [Enters gate, C. from L., followed by Mother Tagger] Hang around 
for a half an hour or so. The girl from New York is here. Take her to your 
camp dope her with whiskey and keep her hid till we are ready to leave. 
[Mother Tagger nods] 

MOTH. T. Yes, yes. 

Liv. Can we depend upon Jordan? 

MOTH. T. Yes, yes. 

Liv. Good. Go now. 

MOTH. T. He, he, heoh, you wicked, wicked boy. [Exits C. to L.] 

BESS. [Enters from house] Oh, my heart aches so. I couldn't breathe in 
there. [Crosses and sits at tree] 

Liv. My luck is with me. [Crosses to her] Sweetheart. [Very tenderly] 

BESS. [Rises in fear] John! 

Liv. Come with me, dear well be married at once. 

BESS. [Retreating] No, no I won't. 

Liv. You won't? 

BESS. No, I can't trust you, John. 

Liv. [Quickly] You won't come, eh? [Catches her] Then I must force 
you. Come. [Bunco enters from house] 

BESS. [Screams] No! 

Liv. [Hand over her mouth] Shut up! You'll trouble me no more. [Forces 
her up stage as Mother Tagger enters C. ]a\e enters following Mother 
Tagger] 

BUNCO. [C. Takes gun from boot] Let her go. [Mother Tagger hits 
Bunco on head she is unconscious] 

Liv. Good. Come, come! Hurry! You brought the horse and wagon, Jake. 
Help us put her in. [Exit Bess .Livingstone .Mother Tagger and ]a\c C. to L,] 



172 LILLIAN MORTIMER 

BUNCO. [On floor, coming to} Ouch! I was knocked out, eh? [Gets gun] 
Now look out fer me, Mr. Bluff, 'cos dis time I'm goin' to shoot. [Exits gate, 
C. to L. Silas and Lindy enter] 

SILAS. It's goin' to be a right smert night tonight, Lindy. That reminds 
me. One beautiful moonlight night in the summer old Doc Brown fell down 
a well and was instantly killed. 

LINDY. Land sakes! What was the coroner's verdict? 

SILAS. He said he should have attended the sick and let the well alone. 

LINDY. [Looking around] Si Waterbury, I wonder where them gals is 
gone. [Crosses to gate, C] 

SILAS. [At gate] I'm afraid you've got a white elephant on yer hands, 
Lindy Jane. And that reminds me 

LINDY. Shet yer head. Somethin' always reminds ye of somethin* else. 
[Crosses down C.] 

SILAS. [Follows her] Everything always reminds me of you, Lindy. Say, 
Lindy, when are ye goin' to say yes? This sweetheartin' fer ten years is 
gettin* monotonous. 

LINDY. Oh, it is? Then quit it. [Goes to gate, C.] 

SILAS. I can't. It's a habit now. 

LINDY. Well, dern yer buttons. [Crosses to him] 

SILAS. [Sweetly] See the stars up there? 

LINDY. What stars ? 

SILAS. That reminds me [Kisses her] 

LINDY. Si Waterbury ef you do that agin, 111 scream. 

SILAS. I never heerd ye scream, Lindy. [Kisses her again] 

LINDY. Oo ooo, Si Waterbury. [Crosses down L] 

SILAS. Did ye see stars, Lindy? [Laughs] Good-night, Lindy. [Exits gate, 
C. to R.] 

LINDY. [Angry] Well, I never see sich a man. [Giggles] But he do kiss 
the sweetest. [Crosses to gate, sits C., sighs softly] 

DAY. [Enters from house] That you, Lindy? 

LINDY. [Fans herself with apron] Yes, it is, sir. 

DAY. It seems to me yer gettin' too old to be larkin' round this time o' 
night. [Crosses and sits R] 

LINDY. Oh, shet yer head. [Exits into house] 

Liv. [Enters gate] Lovely night. I'm tired I guess I'll go to bed. Good- 
night. [Exits into house] 

DAY. Nice young man. [Rises and cross up] 

LINDY. [Enters and crosses to gate] I can't understand where them two 
gals be. 



NO MOTHER TO GUIDE HER 173 

DAY. Guess they've gone, Lindy. You took them in gave them something 
to eat, and now they're on the tramp agin. 

LINDY. Land sakes, I never would have believed that. Well, I'm goin' 
to bed. Good-night. [Exits in house. Rose' and Ralph enter from house] 

ROSE. Let's go out on the porch. Oh, is that you, father? 

DAY. Yes. 

ROSE. Isn't it a lovely night? 

RALPH. I'm going for a little stroll. I've got a headache. 

DAY. You won't be long? 

RALPH. [At gate} Oh, no. [Exits C. to R.] 

ROSE. Father, I have something to tell you. 

DAY. Not tonight, daughter I'm too tired. I know it's a love affair. He 
has spoken to me. 

ROSE. He? Who? 

DAY. Mr. Livingstone. 

ROSE. Oh! 

DAY. Good-night, daughter. 

ROSE. But, father 

DAY. See that the doors are locked. Lots of robberies lately. 

ROSE. I'm not afraid with my little revolver under my pillow. 

DAY. [Laughs] You'd be afraid to use it. 

ROSE. Would I ? Don't you believe it. 

DAY. Well, good-night, daughter. 

ROSE. Good-night, daddy. [Kisses him. Day exits to house] I wonder 
where Ralph went. [Runs up to gate] Oh, there he is I'm going for a little 
stroll with him. [Exits gate, C. to R.] 

Liv. [Snea\s on from behind house] I must meet Ralph. He'll do as I say 
tonight. [Looking off] Hello there he is and Rose is with him. [Hides be- 
hind tree f C. Ralph and Rose enter gate] 

ROSE. Yes, both girls have disappeared. I suppose we'll never see them 
again. I wouldn't have believed they could have been so ungrateful. Well, 
I'll go in now. Good-night, dear husband. 

RALPH. Good-night, dear wife. [Kisses her] 

ROSE. Good-night. [Exits, house] 

RALPH. Poor little woman I'm afraid I've wrecked your happiness. 
Whichever way I turn, ruin seems to stare me in the face. But prison or no 
prison, I've sworn to lead a new life and I'll keep my word. Now to find 
Livingstone. [Turns up, exits gate C. to L.] 



174 LILLIAN MORTIMER 

Liv. [Comes from behind tree] Yes, and tomorrow shall see you in 
custody, if my plan succeeds. His dear wife! I could kill him myself, with 
pleasure. [Exits gate, C. to L.] 

BUNCO. [Enters C. from L.] Gee, I'm tired. [Crosses to R] I followed the 
horse and buggy until we came to the gypsy camp where they took poor Bess. 
I can't do nothing tonight, but tomorrow I'll tell Miss Rose everything. I 
wonder if dey'll take my word against his. [At gate] Gee, whiz! Here he 
comes back. Me out of sight! [Hides behind tree. Ralph and Livingstone enter 
gate, L] 

RALPH. I tell you I won't, Livingstone. 

Lrv. Don't be a fool. It's easy enough and no danger. Just wait in the hall 
and watch. If you hear a noise give me the signal. [Crosses L.] 

RALPH. But think what it means to me. My God, Livingstone, is there 
nothing I can do instead of this? 

Liv. Nothing. Come on cover your face up. [Takes out revolver] 

RALPH. You are not going to use that? 

Liv. If I have to. Come! [Exits into house] 

RALPH. [Aloud] Yes, John Livingstone, I will stand by the door and 
watch, but I'll give the alarm and put you behind the bars where you would 
send me. [Exits into house] 

BUNCO. Christopher Columbus! Burglars! I thought dere was somethin' 
crooked about dat guy. De oder one didn't want to do it. Hully gee what'll 
I do? Guess I'll have to take my trusty and go after dem. Dey're comin* back. 
[Hides again] 

LINDY. [Off stage, screams] Help, help! Rose, Rose! [Ralph fires three 
shots inside. Rose rushes on] 

ROSE. What was that? Burglars? My revolver. 

BUNCO. Miss Rose dey're comin' out. [Ralph enters from house, runs to 
gate, Rose shoots] 

RALPH. [Staggers falls] Oh, my God! 

BUNCO. She's killed him. 

SILAS. [Enters gate] What's the matter? 

LINDY. [Enters from house] Rose's father has been murdered, 

SILAS. Burglars? 

LINDY. Yes. 

Liv. [Enters from house in bathrobe] Did you get him? 

ROSE. [Enters from house] Have I killed him? 

LINDY. Look! Look! 

ROSE. [Staggers] Oh, my God! 

Liv. He's killed your father. 



NO MOTHER TO GUIDE HER 175 

ROSE. No! No! 

Liv. It's true as Heaven. 

BUNCO. [Coming from behind tree] You lie life helll 

ACT II. 

AT RISE: Gypsy camp. Mother Tagger sits by the fire. Bess is in a stupor L. 
by tree. Jafe looking at Bess. 

JAKE. Say, dat gal looks mighty bad. What's de gov'nor going ter do wid 
her, eh? 

MOTH. T. That's his business, dearie. 

JAKE. I'm all right when it's face to face with a man, but when it comes 
to frighten women, hah, I'll leave dat to de white-livered dogs dat sticks a 
man in de back. [Crosses down right] 

MOTH. T. Don't speak like dat, dearie, he might hear you. 

JAKE. Who? 

MOTH. T. Your master. 

JAKE. Livingstone? 

MOTH. T. Yes, yes. 

JAKE. [Laughs and crosses to L.} My master? Why if I wanted to squeal 
the electric chair would have his black heart forever. 

MOTH. T. But think of yourself, dearie. 

JAKE. Oh, I'm not afraid of de prison bars, and dat's de worst dey could 
do with me. Say, why don't you put that gal in there so she can lie on the 
mattress? 

MOTH. T. No, I like to hear her groan, and see her white face turned up 
to de stars, he, he, he. 

JAKE. Well, if dere's a hell, there's a hot place waiting for you. [Crosses 
to C.] 

MoTH.T. He, he, he, burn higher, and higher. How I love to see you 
dance and play, throwing your fiery arms around each other. He, he, he. 
[Looking above] It's going to storm, eh? Well, let the wind blow. [Sings] 
"Blow, blow, winds 
While the pot bubbles, oh. 
We're wrapped in warmth 

And care not for trouble, oh. [Thunder heard in the distance. Drinks 
whiskey and puts bottle away on floor] 

Liv. [Enters C. and slaps Mother Tagger on bacl(\ What the devil are you 
doing there? 



176 LILLIAN MORTIMER 

MoTH.T. [Rises and screams] How you do frighten a body, creeping 
around like a snake. [Crosses to fire] 

Liv. Guilty conscience, eh? [Laughs] Always croaking and drinking. 
You make my blood run cold. [He shivers and warms his hands by the fire. 
Sits] 

MoTH.T. Then warm up, darling. Drink, he, he, he. [Points to bottle] 

Liv. Shut up that cackle. [Drinks from bottle] 

MOTH. T. What news, eh ? 

Liv. Rose is going to marry me tonight. [Rises and crosses to C.] 

Mora.T. What? 

Liv. Yes. I've persuaded her it would be so romantic to be married by 
moonlight in the gypsy camp. 

MOTH. T. He, he, he, and the boy, her husband has she forgotten him? 

Liv. No, she believes him dead, as I told her. 

MOTH. T. Yes, yes. 

Liv. And for three months while she had the fever, I was devotion itself. 
She believes me to be her best friend, and to save her good name, she has 
consented to be my wife. [Laughs] And she will marry me to give the child 
a name. [Bess begins to come to] 

MOTH. T. How you must love her. 

Liv. Love her? Yes, I am determined to call her mine. Perhaps it will 
be for a week, a month, but I shall make her my wife. 

BESS. [Rises to her foees weakly] You shan't do it, y' shan't do it, I'll tell 
her all. 

MOTH. T. [Starts bacJ(\ What ? 

Liv. What the devil! I thought you had her out. of the way. 

BESS. I am your wife in the sight of Heaven, you shan't ruin her life too. 

Liv. Shut up, or I'll choke you. [Has crossed to her and chores her] 

MOTH. T. Be careful, my darling, and don't squeeze too hard. It's a thin 
little throat, he, he, he. [Goes up behind Livingstone] 

Liv. You keep your mouth shut if you're wise, or I may be tempted to put 
you out of the way altogether. Give me the drugged whiskey. I told you to 
keep her under the influence, why haven't you done so ? 

BESS. [On tyees] Oh please, please, don't make me take that dreadful 
stuff. I'll be quiet. Oh, let me go away from here. I won't trouble you any 
more. But don't torture me like this. [Mother Tagger ta\es drugged tuhis\ey 
from stocking leg] 

Liv. No, I can't trust your blabbing tongue. You must stay with Mother 
Tagger until we leave the village. 

BESS. But she is so cruel to me. Why can't I die. 



NO MOTHER TO GUIDE HER 177 

Liv. It's a devilish pity you can't. I'd help you if I dared. [Throws her on 
stage and ta\es bottle] Here, drink this. 

BESS. No, no, I'll be quiet, I'll be quiet. 

Liv. Drink it, I say. [Bess holds it to her mouth] There, that will keep 
her quiet until the wedding is over. [Bess spits it out as he turns away] 

MOTH. T. He, he, he. 

Liv. Let's put her in the tent mother, here take care of this. [Gives her 
the bottle. They put Bess in tent. Mother Tagger puts bottle bac\ in 'her stocfy- 
ingas Livingstone loo\s at his watch] Now I'm going, I'll be back soon. 
Keep the girl in the tent and don't you dare get drunk. [Exits R.] 

MOTH. T. Don't get drunk, eh? [Screams] Leave you to have all the fun, 
while Mother Tagger does all the work, no, no, no, my pet, my pretty pet. 
[Ta^es out bottle, drinks] Oh, oh, it's the drugged whiskey, oh, Lord! I'm 
poisoned, I've drunk the drugged whiskey, what will I do? It may kill me. 
Oh, oh, I must go to the apothecary shop. Oh, I'm poisoned, I'm poisoned. 
[Does funny business and exits R] 

BUNCO. [Enters R. Loo\s around] Dere's no one here, I'll just call Mr. 
Ralph and let him rubberneck. [Calls off] Mr. Ralph, oho, oho [Ralph en- 
ters R.] Oh, I say now Mr. Ralph, don't ye go looking fer trouble, yer too 
weak. 

RALPH. Don't be afraid, little girl, I'm stronger then you think. 

BUNCO. But dere's three to one. I'll do all I kin to help ye, but what's a 
girl in a bunch like dis ? 

RALPH. Well, you've got a heart that's too big for your little body. [Sits L] 

BUNCO. Oh, my heart's all right, all right. And I've worked in de factory 
and I kin hold my own where dere is people dat's honest. But when you're 
bumped about de outside world ans have shuffeled fer yourself, you soon 
learns to tell a good man from a bad one. Say, you're all right. [Puts out her 
hand] 

RALPH. Thank you, Bunco. [They sha\e hands] 

BUNCO. But say, don't stay here now Mr. Ralph, there's danger. 

RALPH. You mean well, little girl, but you don't understand. When a man 
through his own folly has tangled the threads of his own life, there's nothing 
left for him to do but to untangle them again. I must see this man Living- 
stone, tonight. [Crosses up stage] 

BUNCO. He's de guy, the spider that will tangle you in his web again. Mr. 
Ralph, I tell you he is de devil. 

RALPH. [Crosses to Bunco] But I have you by my side, and you are my 
little guardian angel. 

BUNCO. Yes, but I've lost my wings. 



178 LILLIAN MORTIMER 

RALPH. [Sits by fire] Oh, Bunco, you're the only friend I have in the 
world. When everything looked dark you stood bravely by me. [Rises] Oh, 
little woman, your start in life was not too brilliant, but you have it in your 
power to grow up to be a noble woman. And Bunco never do anything that 
you'll regret all your life. 

BUNCO. Well, I'll regret it if I stay here in this gypsy camp. I'll show you 
a short cut to the next town through the fields. If you stay here, they will 
pinch you sure. [ Crosses to tent R.] 

RALPH. [Hands up to fire] No 111 wait. Come now, tell me about Rose. 

BUNCO. Say, I never saw a man so stuck 

RALPH. I'm going to walk by the old farm house, perhaps 111 catch a 
glimpse of Rose. [Exits L.] 

BUNCO. Gee he's de grandest man I ever seed. I wonder where Bess is. 
She mj4st be here somewhere. 

BESS. [Comes out of tent] Bunco! 

BUNCO. Bess, Bess. [They embrace. Bess staggers] What's the matter, 
honey, is ye faint? What have dey done to ye? 

BESS. Oh, Bunco, I feel so ill, I believe I am going to faint. 

BUNCO. Hully Gee, don't faint. Dere, well go far away from here where 
no one will find us. [Bess starts to sinf^ to floor. Bynco tries to help her up] 

BESS. [Cries] Oh, I can't, Bunco, I can't walk. I'm so weak, my head 
swims. 

BUNCO. Dere, dere, dearie. Try again, Bessie, try again, dat's de way. 
[Helps her] 

BESS. I can't, Bunco. [Falls] You go, Bunco, don't let him get you. Go, 
leave me here to die. 

BUNCO. Well, I guess not. Try again. Put your arms around my neck. So, 
dat's right! Don't be afraid honey, 111 take care of ye. 

BESS. [Trying hard] Oh, we'll get away, won't we? 

BUNCO. You bet. [They start up R.] 

MOTH. T. [Enters R] Ho, ho, what's dis? So, so, and where do you think 
you are going, eh? 

BUNCO. Oh, you get out. 

BESS. [Bess drops to her f(nees] Oh, Bunco! 

BUNCO. Don't be afraid, Bess. [Ta%es gun from her boot Livingstone en- 
ters J? v sneaks down behind Bunco] Don't you be afraid, Bess. I got my old 
trusty and if dey lay a hand on ye, de devil will have two new angels to shovel 
coal for him. 

Liv. [Grabs Bunco] Mother Tagger, take the girl. [Mother Tagger drags 
Bess to tent jR. 



NO MOTHER TO GUIDE HER 179 

BUNCO. [Struggling with Livingstone} You let her go! 

Liv. Ha, ha, ha, you little devil, Fm glad to get my hands on you. 

BUNCO. Oh, you great big coward, if I was a man I'd beat ye tell ye had 
to walk on crutches for the rest of your life. 

Liv. Oh, you would eh ? Give me the chloroform botde, mother. [Mother 
Tagger exits] 

BUNCO. No, no, I won't be chloroformed. [Tries to get away} 

Liv. You would come into the lion's den, eh? 

BUNCO. Lion? You're only a measly yellow pup. 

MoTH.T. [Enters with handkerchief} Here, dearie. [Gives him hand- 
%erchiej] 

Liv. [Struggles with Bunco, gives her chloroform} I guess you'll keep 
quiet now. Mother, get me one of those sacks, hurry up. I'll just tie her into 
it, and after dark, put her in an empty boxcar and ship her where she'll never 
come back. 

MoTH.T. He, he, he. [Gets sac\. Drags Bunco to L. Silas and Lindy 
heard off R.} 

LINDY. I tell you nothing on earth could make me do such a fool thing. 
[They enter from R. and come down R.] 

Liv. [Bows] How do you do? I'm just arranging for the marriage. 

LINDY. [Sees Bunco] Good land! 

Liv. Yes, they are a very bad lot. They're very wild. I fear this one is quite 
intoxicated. 

LINDY. Oh, the wicked child. [Crosses to L.] 

SILAS. [Crosses to L.] Don't look intoxicated to me. 

LINDY. What do you know about 'toxication? 

SILAS. Well er not much. 

MoTH.T. [Looking at Bunco] Oh dear, these gals will break my poor 
heart. When their father died he left me to take keer of them, but they're a 
bad lot. Take after their father who was an awful one for them 'toxication 
liquors. 

SILAS. Smells as if the old gal likes 'em pretty tolerable. [Crosses in front 
of Livingstone} 

Liv. Ill put her inside for you. 

MoTH.T. Thank you, my good kind gentleman. [Quickly puts Bunco 
in tent and goes up stage} Can I do anything for you, dearie? [She speaks to 
Silas] 

SILAS. Yes, I wanter have my fortune told. 

MOTH. T. Well, Til do my best. I must get in communication with the 
spirits. [Sits L. Drun%] 



i8o LILLIAN MORTIMER 

SILAS. I she communes much more with the spirits, I'm afraid she won't 
be able to commune at all. 

MOTH- T, Give me your hand. He, he, he. 

SILAS. Hi, hi, hi. [Crosses to her} 

MOTH. T. [Looking at his hand] I kin see yer a great favorite with the 
ladies. 

SILAS. Hear that, Lindy? [Proudly] 

MOTH. T. You have many sweethearts. 

SILAS. You said it. 

MOTH. T. The gals all love you. 

LINDY. Well, I never! 

MOTH. T. But there is one you'll marry. 

SILAS. Humph, I guess not. 

MOTH. T. [Looking closely at his hand] She loves you and you love her. 

SILAS. Bet your gollushes I do. 

LINDY. Humph! 

MOTH. T. I kin see her now. [Loo^s up into the air] 

SILAS. She's on to you Lindy. 

LINDY. Guess I ain't up in the air. 

SILAS. Yes, sir, most of the time. 

MOTH. T. It's a little woman with black hair. 

SILAS. Black hair? 

MOTH. T. Yes, black hair. 

SILAS. That lets you out, Lindy. I wonder if it's Sally Tomkins? 

MOTH. T. Yes, yes, that's her. Sally Tomkins, she loves ye, darling. 

SILAS. I'll be darned. Guess that's about all I wanted to know. [Turns to 
Undy] Going to have your fortune told, Lindy? 

LINDY. Well, I reckon not. I don't believe in such foolish truck. 

SILAS. [Reaching into his pocket] How much, mother? 

MOTH. T. One dollar, darling, 

SILAS. Here ye air. That's cheap enough to find out that Sally Tomkins 
loves me, eh Lindy? [Crosses up to R.] 

LINDY. Si Waterbury. 

SILAS. Ma'am? 

LINDY. You've been flirting with Sally Tomkins. 

SILAS. Get out. Well now, Lindy, I've been a courtin' you fcr the last 
twenty years, and I can't wait twenty more for I git a wife, 

LINDY. Then ask Sally Tomkins to marry you. 

SILAS. [At door R.] I will by thunder. 

LINDY. [Following Silas] Silas Waterbury- 



NO MOTHER TO GUIDE HER 181 

SILAS. By the great tadpoles, she'll jump at me, you don't want me. [Turns 
to go] 

LINDY. Yes, I do. 

SILAS. What? 

LINDY. [Falls into his arms] Oh Si [Enter Livingstone} 

SILAS. She's mine. By Hickory she's mine. I say Mr. Livingstone, ye kin 
fix up a double wedding tonight. [With his arm around Lindy they exit R.] 

Liv. [Laughs] Quick, mother, get the bag, hurry up, there is no time to 
lose. [Mother Tagger gets bag as Livingstone drags "Bunco out] There, now, 
over her head, give me a cord. [They put her in bag and tie it shut} There, 
now, my wise little shopgirl, I guess when you wake up, you'll wonder what 
it is all about, and what all happened. [Mother Tagger exits into tent, drags 
Bunco to side of tent] 

RALPH. [Enters L.] John Livingstone. 

Liv. Ralph Carlton, well, well, where did you drop from. [Advances to 
tent, R.] 

RALPH. You know well enough, you scoundrel. From the hospital. I knew 
that as soon as I was well enough I'd be carried away to jail, so I took ad- 
vantage of my first walk into the grounds, to get away and see you once 
more, my good kind friend. [Advances toward him} 

Liv. Now don't be sarcastic, Ralph. I am your friend and will do all I 
can to help you. [Crosses to Ralph} 

RALPH. How very noble! And my wife, you'll help her too won't you? 
I hear her father did not die. 

Liv. Now see here, Ralph, I can't help if our plans turned out so devilish 
bad. 

RALPH. Good you mean, for you, I'm going to see Rose and tell her all. 
[Starts} 

Liv. She wouldn't believe you. You're very foolish old fellow to expose 
yourself. Better get out of the country. 

RALPH. And leave Rose to you? No, I'll tell her; she will believe me. I'll 
tell her it was you who tried to kill her father. 

Liv. Hush, you fool. Better get out of "the country while you have a 
chance. \3&\c enters L. and remains up C. Then advances on Ralph} 

RALPH. I'll stay and face my accusers. And if I go to jail you shall go with 
me. 

Liv. Seize him, Jake. \Ja\e grabs Ralph, they struggle. Mother Tagger en- 
ters, as Ralph's revolver explodes. Livingstone hits Ralph with a billy, Ralph 
falls t and ]akf drops on \nee behind him. Livingstone draws tyiife and offers 
it to Jafe] Good, the fool! Here, Jake, kill him. 



182 LILLIAN MORTIMER 

JAKE. Why don't you do it yourself, governor? [Rises] 

Liv. [Picking up Ralph's revolver] I will, and while I am about it I'll just 
settle my account with you, Jake Jordan. 

JAKE. What do you mean, Livingstone? 

Liv. I mean my opportunity to get rid of you with no danger to me. You 
have hounded me long enough, Jake Jordan. 

JAKE. Would you kill a man without giving him a chance? 

Liv. Yes. 

JAKE. You do. [Crosses to him. Jafye ma%es rush for Livingstone, who 
shoots Ja{e and he falls. Then drops the revolver near Ralph, then picf(s up 
]a\es foife. Mother Tagger loof^s down at him} 

MOTH, T. Is he dead ? 

Liv. Well, if he ain't he soon will be. 

MOTH. T. You wicked, wicked boy. He's moving. 

Liv. Shut up. [Livingstone lifts Ralph to his feet] There, there old pard, 
brace up, this is a bad business. 

RALPH. [Rousing himself] What is it, what is the matter? 

Liv.[R] He's dead. 

RALPH. Dead; who's dead? [Sees Jaf^e] 

Liv. [Crosses to L.] It's too bad, but luck seems against you. Of course it 
wasn't in cold blood, but in the tussle. 

RALPH. I shot him? 

Liv. Yes. 

RALPH. I don't believe it. 

Liv. I tell you you killed him. Look at your revolver. 

RALPH. [Crosses to ]a^e, pic%s up revolver} Well, I'll go. The odds are 
against me just now. They may send me to prison, John Livingstone, but 
some day I'll meet you again, and God shall judge between us. [Exits L. ]a\e 
has been coming to during this speech} 

Liv. [Looking after him f then turns and crosses up to Mother Tagger} 
He's gone and he will never come back. Come quick, we'll put this fellow in 
the wagon, he can stay there until after the wedding, and then I'll drive him 
to the river and throw him in. If the body is found it will be easy to fasten the 
crime on Carlton. Look, Mother Hag. 

JAKE. [Has risen} You dog. [Rushes at Livingstone who %nocJ(s him 
down, drags him to door of tent R} Now I'll put the police on Carlton's track, 
Don't you leave here until I return. [Exits R} 

MoTH.T. Don't leave here? Why darling I must have something to 
steady my nerves. [Loo\s in tent, and following him} She's all right. A mur- 



NO MOTHER TO GUIDE HER 183 

der and a wedding in one night. [Kic^s Bunco who is still in bag] Everything 
looks safe. Now 111 get just one little drop. [Exits L.] 

BUNCO. [Rolling down C. and trying to get out of bag] Help, help! 

BESS. [Enters from tent] She's gone. 

BUNCO. Help, help! 

BESS. Oh Lord, what's that? 

BUNCO. Bess, Bess. [Bess runs up stage calling her, then crosses to upper 
L.} Here in the sack, Bess. 

BESS. [Going to her] Is it you, Bunco? 

BUNCO. I guess so what's left of me. Hully Gee let's get out quick. 

BESS. Oh, Bunco, my hands tremble so I can't untie it. There. [Opens bag. 
Bunco jumps out] 

BUNCO. Gee, I'd like to live in that sack. 

BESS, Did they put you in there? 

BUNCO. Gee, I feel pale. My head's just swimming. 

BESS. [Starting up] Come, Bunco, let's go. If they find us they'll kill us. 

BUNCO. No, Bess, I can't leave now I've got business here. [Goes up and 
sees Jafe] Try to get a little air, pardner. Quick some water Bess, quick. Is 
dat better? [Getting ]a\e out and trying to revive him] 

BESS. [Getting bottle of water] Here, Bunco. [Hands her bottle of whis- 



BUNCO. [Starts to give Ja\e a drinl(, stops] No, that may be drugged stuff. 

BESS. No it ain't, Bunco. 

BUNCO. Are you sure? 

BESS. Yes, Bunco. 

BUNCO. Here pardner, drink this. []a\e ta\es drink] Are you much hurt? 

JAKE. The bullet just grazed my head. [Partly rising] You're a brick, kid. 
I'm all right now. [Sits up. Mother Tagger laughs off L.] 

BESS. [Frightened. Runs in tent as she speaks] She's coming back. [Sound 
of horses' hoofs approaching] 

BUNCO. Duck, pardner quick. [Bunco and ]a\e exit R. quickly] 

MOTHER T. [Enter laughing from L.] Ha-a, I feel better now. Ah they 
are coming. [Loof(s into tent] Ha, the girl's asleep yet. [Goes down R. Liv- 
ingstone enters R. followed by Rose. They go down jR. Si enters with Lindy, 
followed by Parson. Si and Lindy go down L. Parson down C. Lindy speaks 
as she enters; she goes down L.] 

LINDY. Oh, Si, I feel so nervous. 

SILAS. What for? 

LINDY. I never was married before. 



184 LILLIAN MORTIMER 

SILAS. Well, you'll get used to it. 

Liv. [Has been talking to Rose, aside] There cheer up, Rose. You look as 
if you were going to a funeral. 

ROSE. I can't help it John, I have a horrible feeling of fear. If I could turn 
back now. A vision of Ralph arises before me as a warning, I have seen him 
in my fancy several times today. Oh, John, are you quite sure he is dead? 

Liv. You saw the certificate. He died while you were quite ill. I buried 
him myself, poor boy. 

ROSE. You are very kind, John. I'll try and be a good wife to you so you'll 
never forget your great love for me. 

Liv. My one wish is for your happiness, Rose. Come, dear you will soon 
be my wife. Come smile I want to remember this as the happiest day of my 
life. Come, Parson. [Parson goes C] 

LINDY. Oh, Si, I've changed my mind. 

SILAS. All right, I'll get Sally Tomkins. [Starts; she catches his coat-tails] 

LINDY. [As Parson prepares for the ceremony] Oh, Si, I shall faint I 
know I shall. [Grousing dar]([ 

PAR. [Parson is C. Rose and Livingstone R. Silas and Lindy L] Are you 
ready? [All bow, Lindy and Rose in dread] If there be anyone here who sees 
a reason why these people should not be joined in the holy bonds of matri- 
mony, let him speak now [Loud thunder] or forever hold his peace, and be 
silent. 

BESS. [Enters at tent] I dol 

ALL, Bess! 

BESS. [Coming down] I should be in her place. He has promised. 

ROSE. Bess why are you here, 

Liv. She is the old woman's grandchild and is insane, [Mother Tagger 
comes down and grabs her] 

BESS. No, no Miss Rose don't marry him. 

MOTH. T. Come, my poor crazy child. Come, dearie, come. [Pushes hei 
into tent. Parson goes up and talJ($ to Mother Tagger. Silas and Lindy tal^ 
aside L.] 

Lry. Come, dear. 

ROSE. Oh, John I can't I can't, 

Liv. Sweetheart, will you allofa the ravings of a poor demented creature to 
affect you? 

ROSE. Oh, I'm afraid, John. 

Liv. Come dear, come. You're nervous. You'll soon be my dear little wife. 
Go on, Parson. 



NO MOTHER TO GUIDE HER 185 

PAR. [Coming down C.] Do you, Rose Day, and Lindy Jane Smithers, 
take these men, John Livirigstone and Silas Waterbury to be your lawfully 
wedded husbands, to love honor and obey until death do you part? 

ROSE and LINDY. [At the same time meekly] We do. 

LINDY. Oh, Silas! 

SILAS. You're mine, Lindy you're mine at last. [Starts to embrace her. 
There is a big roar of thunder and they jump] 

PAR. Then I pronounce you man and wife, and whom God has joined to- 
gether, let no man put asunder. [Rose swoons and faints] 

Liv. She's fainted. 

LINDY. [Crossing to her] Rose my poor Rose. 

SILAS. The kerridge is waiting. [Lifting her up] 

Liv. Yes, you take her home. I will follow you. Go at once before the 
storm overtakes you. I'll settle with this good woman. 

SILAS. We'll wait for you. 

Liv. No, no go at once. [Pushing them off R. As they all exit, the jury 
of the storm increases , with wind, thunder and lightning} Now, mother 
quick [Loo\s -for Bess] By Heaven she's gone! 

MOTH.T. Gone? 

Liv. [Looking for ]a\e\ Is he still here? [Jaf(e appears at door of wagon] 

JAKE. [As he appears] Yes, and ready to settle with you. 

Liv. We'll see. [Pulls tyiife. They fight. Livingstone gets the better of the 
foife fight stabs Jake and throws him off. Livingstone starts for Jafe again 
with %nife, to give him another thrust, and as he does so, Bunco enters from 
R. f shoots him; he staggers. During all this action there is a terrible storm 
raging] 

ACT III. 

The scene is a room in which the Livingstones are living. It is supposed to be 
a room where there is a bed but a cot may be substituted if a bed is not avail- 
able. There are doors R. and L.U., and there is a window in center at bac\. 
There is a dresser up stage against the wall. Fireplace down L. in front of 
which is a chair. The bed is down R. There is a house screen up L. There is 
a large closet against the wall up R. or, if desired, a door leading into a sup- 
posed closet up there. A table JR* and a couple of plain chairs. One to be placed 
R.C. At rise t Rose sitting in front of fireplace. 

Liv. [At dresser tying his tie, preparing to go] I may be in at ten. 

ROSE. Can't you stay in tonight, John? 

Liv. [Irritated] No No! I say. I have business to attend to. 



186 LILLIAN MORTIMER 

ROSE. What business? 

Liv. [Still busy with tie] Oh, I can't explain it to you. 

ROSE. And why not? The baby is not well and I may have to send for a 
doctor. I don't like to be left alone. 

Liv. Oh, I can't help it. It's not my kid. 

ROSE. [Rising] John! [Crosses to bed, puts baby down] 

Liv. [Laughs] What's the matter? 

ROSE. [With spirit] Oh, I won't bear it any longer I won't I won't. 
Business! What business keeps you out night after night and until all hours 
in the morning. We have been married a year and in all that time you have 
scarcely spent a night at home. What business is it that must be done tonight, 
while all day you never leave the house? 

Liv. See here,_Rose, don't pry into my affairs or you'll be sorry. [Going to 
her] What I want you to know I'll tell you and if you don't like it well you 
know what you can do. [Exits abruptly R.U.] 

ROSE. Oh, what a fool I've been what a fool. I didn't love him when I 
married him and now I hate him. But it serves me rightI am a coward. 
Afraid to face the world with my baby. [Fields up baby from bed] Because 
your father was a criminal I dared not claim him. Well he has given you a 
name so we must be content, I suppose. [Lays baby down again] 

BUNCO. [Calls off stage R.] Hey Rose! Who-hoo Rose can I come in? 

ROSE. [Comes down to L.C] Yes Come on in. 

BUNCO. [Enter RU+] I saw old Pain-in-the-Face go out so I thought I'd 
slip in. Is the kid asleep? [Goes to baby] 

ROSE. Yes. Be careful and don't wake him. 

BUNCO. I wonder if dis kid's goin' to look like its father. 

ROSE. I hope so. 

Liv. [From outside off R.] All right wait a few moments. 

BUNCO. [Running up and looking of] Gee it's old Pain-in-the-Face I'll 
duck. [Runs behind screen up L. Livingstone enters door RJU. f goes quickly 
to dresser, ta\es out jewelry] 

ROSE. [Comes toward him] What are you doing? 

Liv. I'm in trouble. I want money. 

ROSE. Don't take those. They belonged to my mother. Here take this. 
It's all I have but leave those. [Offers purse or moneybag] 

Liv. [Taf^es money] I'll need it. 

ROSE. No! I've changed my mind. You shan't have it. [Resisting him] 
Liv. Let go, you fool [Jerfys money from her] Now give me those rings 
[In desperate tone] Quick hurry! [Rose f frightened ', gives rings] Now 
give me the other. 



NO MOTHER TO GUIDE HER 187 

ROSE. My wedding ring ? 

Liv. Yes. Hurry up, I tell you. I'm in trouble. 

ROSE. Well take it, but give me back the others. [Tafes ring, loo\s at it] 

Liv. Ralph's ring, eh? 

ROSE. Yes. Now give me back the others. 

Liv. I guess not. I need them all. [Puts them in his pocket] 

BUNCO. [Has slipped from behind screen and down bac}^ of him. Ta^es 
jewelry and money from his pocket] And so do I. [Bunco exits L.] 

ROSE. Oh, John John. 

Liv. Let go. [Throws her off} Shall I tell you why my business takes me 
out at night? It's because I'm a thief a housebreaker. Now will you hold 
your tongue? I'm in hard luck tonight, but tomorrow we may have plenty. 
So cheer up, Rose Cheer up! [Laughs and exits door R.U. Bunco enters L.] 

ROSE. Good Heavens, Bunco, did you hear what he said? 

BUNCO. You bet I did and it's true every word of it. 

ROSE. Bunco, do you know what you are saying? 

BUNCO. Yes I do. He's a devil, he's a thief, a bankrobber and worser. 

ROSE. A worser? 

BUNCO. Yes a worser a murderer. 

ROSE. Bunco! 

BUNCO. Why I believe it was he who tried to kill your father. 

ROSE. My God! 

BUNCO. Den he ruined poor Bessie's life, and tried to kill dat poor feller 
Jake in dat gypsy camp, and den made poor Ralph think he done it. 

ROSE. [Crossing to L.] Stop Please, Bunco. For God's sake do you know 
what you are talking about? 

BUNCO. Yes, I'm talkin' about old Pain-in-the-Face. 

ROSE. You say you saw Ralph at the gypsy camp? 

BUNCO. Well, I didn't exactly see him, 'cause I couldn't see. But I heard 
his voice and I know it was him. 

ROSE. Can it be that Ralph my Ralph is alive and innocent. Oh, I begin 
to see it all now. [Sin\ in chair L.} 

BUNCO. [Holding out money she too\ from Livingstone's pocket] Here 
you may need dis. And if I was you I'd put on Mr. Ralph's ring again. 
[Rose ta\es ring} Say, Miss Rose, did you marry him? 

ROSE. Yes yes and if he is alive I shall go mad. 

BUNCO. [Pic^s baby up, upside down funny business} De baby's wakin'. 

ROSE. [Screams} Oh, Bunco! [Lindy and Silas \noc\ on RU. door} 

LINDY. [Outside} Air ye home. Rose? 

ROSE. [Holding the baby} Open the door, Bunco. 



i88 LILLIAN MORTIMER 

BUNCO. [Opening door] Howdy! [Dances C. to music. Lindy and Silas 
enter L.] 

LINDY. Where on airth did you come from? 

BUNCO. Oh, I've got a good job taking keer of two kids in the flat next 
door. 

LINDY. Well, I never. We've been to the opery, Rose. [Crosses C.] 

SILAS. Drammer, Lindy. 

LINDY. Opery! It was at the Opery House. 

ROSE. Did you enjoy it? 

SILAS. Yep. We had two good seats. 

LINDY. [Crossing to him confidentially] Preserved seats. 

SILAS. Yep. They were good ones anyway and you oughter see Lindy 
blubber. 

LINDY. Hersh yer head. I guess you blubbered too when the poor gal was 
druv out by her hard-hearted paw. Yes and the villain say ye oughter see 
him Rose he was a bad 'un. I'll foller her to the end of the airth, by Gum. 

SILAS. [Funny business with Lindy] An' when the villain crep' up behind 
her with a big bowie knife before he could jab him the hero pulled out his 
gun and bang [Shot heard outside] 

t LiNDY. Good Lord what's that? [Crosses to Silas, R.] 

BUNCO. [At window] Hully Chee two coppers runnin' across the yard 
and oh oo a man is climbing up the balcony. 

LINDY. Oh, Lord save me. 

SILAS. Me too, oh, Lord. [Both business of ad lib under the bed} 

BUNCO. Hully Gee! I'm pinched. [Goes to closet R. Ralph enters through 
window in prison clothes] 

ROSE. Merciful Heavens! 

RALPH. Lady for God's sake, hide me. 

ROSE. Ralph! 

TR.ALPH. Rose! [Embrace} My Darlingl 

BUNCO. [Enters, sees Ralph] Hully Gee! [Exits in closet] 

ROSE. You are in danger. 

RALPH. Yes, the police are after me. 

ROSE. What shall I do? 

BUNCO. [Enters] Get under the bed. [Shot outside] 

ROSE, Quick quick [Shot] Here. [Turns down cover. Ralph gets into 
bed] 

BUNCO. Now sleep like the devil. [Rose C. turns down lights, Knocf{ at 
R.U. door. Gets baby. Officers knoc}(\ Hully Chee dere's de cops, [Crosses to 
chair, L.] We ain't in. [Funny business] 



NO MOTHER TO GUIDE HER 189 

ROSE. Open the door, Bunco. 

BUNCO. [Opens door] Sh hh You'll wake the baby. 

OFF. We must come in. [They enter] 

BUNCO. My master is awful sick. 

OFF. [L.C.] Stand aside. 

ROSE. What is it sir? Why were those shots fired? 

OFF. We must search the house, lady. We are after an escaped convict. He 
was seen to climb the balcony. I can't say whether he came here or the flat 
above. But we must search. 

BUNCO. A convict. Oh, Gee! [Crosses L.] 

ROSE. Mercy, he isn't here, sir. You may search but please be as quiet as 
possible. My husband is very ill and has just fallen asleep. 

OFF. [Quietly] Sorry to trouble you, lady [Searches closet and under 
bed] Hello come out here [Pulls Silas out shading; funny business] 

BUNCO. Oh, Gee isn't that funny! 

LINDY. Oh, please, Mr. Policeman, don't take us to jail. 

SILAS. Shut up, Lindy nothin' to be afraid of. We don't know nothin'. 

OFF. I can see that. What were you doing under that bed? 

SILAS. I was under there to bring Lindy out. 

ROSE. The shots frightened them, officer sh-h-, dear. [To Ralph] It's 
nothing. 

OFF. Come. [To policeman] We must go through the other rooms. 
[ExitL.] 

LINDY. My teeth is jest a chatterin'. 

SILAS. This ain't no place for a constable. I'm goin' home. [Exits R.U.] 

LINDY. Silas Waterbury, wait for me. [Exits U.] 

ROSE. God protect you, dear. Have courage. Sit here, Bunco quick. 
[Bunco sits beside Ralph, Rose tual\s floor with baby] There, there, dearie 
sh sh-h. 

BUNCO. Gee, ain't this excitin'? [Crosses right to bed] 

OFF. [They enter] Sorry we had to trouble you, missus. He's not there. We 
must go upstairs. Good-night. [Crosses to C.] 

ROSE. Good-night, officer. I hope you find him. It makes me nervous to 
think of a criminal at large. 

OFF. Oh, we'll get him. [They exit R.U.] 

BUNCO. Yes you will [Puts \ey in door] 

ROSE. Quick, quick, Ralph, put on this suit of clothes in the closet. [Ralph 
goes to closet* puts on suit, hat, etc.] Bunco, watch. Oh, God help me to get 
him away. 



190 LILLIAN MORTIMER 

BUNCO. Hully Gee, Miss Rose don't flop [Runs to window} Don't 
be afraid, Miss Rose God will help him, you bet. 

ROSE. Don't leave the window, Bunco. Watchwatch. [Bunco does fancy 
business, bac\ to window] 

RALPH. [Enters] Rose- why are you here? And the child 
ROSE. Our child, Ralph. 
RALPH. My God! 

ROSE. He told me you were dead. I married him. 
RALPH. Livingstone ? 
ROSE. Yes. 

RALPH. Oh, God! Where is he? 

ROSE. No, no for my sake, Ralph, you must get away. I have proof 
against him. This girl heard it allthat night at the gypsy camp. But first 
you must get away. 

BUNCO. Old Pain-in-the-Face is coming back. 
ROSE. Too late. 
RALPH. I'll meet him. 

ROSE. No, it would be madness. See, the child is ill. You are the doctor 
do you understand ? 
RALPH. Yes. 

BUNCO. [Gets chair for him] Sit here, Mr. Ralph, de baby is sick and you 
are de doctor. Hully Chee now he's a doctor. [Livingstone stngs drunken 
song off R.] Hully Chee if I'm discovered I shall be found. [Bunco ma\es 
funny exit into closet] 

Liv. [Enters R.U.] How's the girl, eh ? Miss her hubby ? [ To Ralph ] Who 
the devil are you? 

ROSE. Oh, Johnthe doctor. The baby is ill. 

Liv. Too bad, hie [Laughs] Let it die, doc it's better off. [Crosses L.] 
ROSE. John! [Livingstone laughs] This way, doctor. You will call again 
in the morning? 

Liv. [Faces Ralph] What ails the kid, doc? [Faces him] By Heaven, I 
know you. [Snatches off Ralph's hat] Ralph Carlton! 

RALPH. Yes, John Livingstone I said we'd meet again. [He rushes at 
Livingstone. Rose screams. During the struggle Livingstone hits Ralph on 
the head with butt of revolver, catches him as he struggles, throws him in 
closet] 

ROSE. You've killed him. 

Liv. Shut up, you fool. [Throws her C.] I'll fix your Ralph Carlton 111 
call the police. [Goes to phone. As he locked closet door Rose has gotten 



NO MOTHER TO GUIDE HER 191 

scissors and cut phone wire} What have you done? Oh, I see you want to 
save him, eh ? [Struggles with her} 

ROSE. Yes. 

Liv. Drop those scissors. 

ROSE. I won't. 

Liv. [Shades them to the floor, strides Rose; she jails C] Try to save him! 
Ill fix you, eh. [Gets rope at window} 

ROSE. [Rises, runs to closet} Ralph Ralph [Livingstone catches her, 
drags her to bed} Oh, you devil you murderer. 

Liv. I am, eh? [Chores her with handkerchief, throws her on floor, cuts 
rope line and ties her to bed} There I guess you'll be quiet now. There's 
another telephone downstairs, I'll use it. I'll lock the door and keep the key 
in my pocket until I come back. [Exits R.U.] 

BUNCO. [Crawls over transom, unlocks closet door] 111 be with you in a 
minute, Mr. Ralph. 

RALPH. [Enters] My darling, are you hurt? Bunco, get some water, quick! 

BUNCO. Ill turn up the lights. [Does so, cuts rope} Some water. Yes, sir. 
Hully Gee, dis door is locked. [Tries closet \ey} 

ROSE. I'm all right now, dear. Get away through the window before he 
gets back. 

RALPH. Not without you. Will you come with me? 

ROSE. Yes. 

BUNCO. Come on de door's open. Ill get de kid. [Goes L. of bed for 
child. Ralph and Rose start for door. Livingstone opens it] 

Liv. The devil! 

BUNCO. [On bed, with revolver in hand} Throw up your hands. Hurry 
up! That's right. Now, Mr. Ralph, give him a knock on the coco. 

RALPH. Take off your coat. 

BUNCO. Take off your coat. 

Liv. Ah-h! [Not taking coat off] 

BUNCO. [Crosses to him, poking revolver in his stomach} There! Take 
off your coat or 111 puncture you. [Livingstone crosses L. and ta\es off coat] 
Dat's right. 

RALPH. Now put on these. 

Liv. Huh? 

BUNCO. [Has gotten convict's clothes from closet] Put 'em on! [Covers 
him with gun} Hurry up! [Livingstone does so. Bunco jumps up and down 
on bed} He won't put them on. Oh, no! 

RALPH. Now the coat [Livingstone starts for Ralph} 



i 9 2 LILLIAN MORTIMER 

BUNCO. Oh, Gee, ain't we got fun [Po{es Livingstone in bac\ with 
pistol] Hurry up. [Livingstone starts toward bed} 

RALPH. [Ties him] I guess the police will be as glad to get you as to get 
me, John Livingstone. [Gags him, speaks to Rose] Now we are going. I have 
a long account to settle with you. The end is not yet. 

ROSE. Bring the baby, Bunco. 

BUNCO. Yes, ma'am. [Jumps off bed. Livingstone starts to move bed and 
all] Whoa, Bill. [Tafes baby. Funny business across room with gun. Rose 
and Ralph exit R.U.] How do you feel now, old Pain-in-the-Face? [Kic^s 
him] I'll see you when the robins bloom in the spring, tra la. [Exits after 
others] 

Liv. [Struggles, worlds gag out of mouth} Help help 

MOTH. T. [Enters at window] Is that you, darling? 

Liv. Mother Tagger what luck! Come here and cut these ropes. 

MoTH.T. How did you get into this, darling? I've been hanging around 
to tell you that Jake Jordan is free. 

Liv. Jake Jordan free? The devil he is. 

MOTH. T. True as Heaven, darling. [Crash, scream outside] What's that? 

Liv. I'm off. [Officers at door, R.U. Livingstone crosses and gets revolver 
from dresser drawer. One policeman jumps through window, other R. Ja\e 
enters R.U.] 

OFF. [At window] Here's our man. [Livingstone shoots at officer at 
window. Jumps out. Others follow him. Officer falls to floor wounded, then 
rises and crosses to window. Ja^e shoots out of window] 

MOTH. T. [On \nees, starts praying] Oh, oh, it's all over now! It's all over 
now. 

ACT IV. 

Over run from up L. Lindy enters L., skirt caught up, very tired. Sun- 
rise, red and blue lights. Silas follows Undy on; has shoes in hand and an 
open umbrella over his head. 

LINDY. For land's sake, will you hurry ? I never seed such a man in my 
life. Here's a tent we can ask the way. And the next time I let you take the 
lead and follow you, you can lam me good. And as fer show theaters 111 
never go again, 'less I'm sure we can ketch the last car home. My feet is so 
swelled and tired, I could jest lay down and die. Do you spect we're any 
nearer than when we started ? 

SILAS. Durned ef I know. We've walked about five thousand miles now 
I reckon. 



NO MOTHER TO GUIDE HER 193 

LINDY. What? 

SILAS. Five hundred miles. 

LINDY. How fur? 

SILAS. Five miles, I said. [Wilting at her each time} 

LINDY. What on earth are you doing with your shoes in your hands? 

SILAS. Ain't goin' to wear 'em out, by cracky. Paid a dollar and twenty 
cents fer them shoes. 

LINDY. Why don't you take off your socks too? Paid ten cents fer 'em, ye 
everlastin' idiot. Well, air you goin' to the tent and ask where we air? 

SILAS. Reckon I might. [Goes to tent, loo\s in] Jumpin' catfish! [Jumps 
bacf^ f frightened} The Devil must live here. 

LINDY. The Devil must live here? What air you talkin' about? 

SILAS. There was somethin' sittin' over the fire noddin' her head and 
laughin' and in the corner on some straw was a poor, wild4ookin' critter 
moanin' and groanin'. 

LINDY. Let's go, Silas well be murdered yet. 

SILAS. If you had stayed and spent the night with Rose as ye was goin' to 

LINDY. What? And her with a convict hidin' in the bed? I guess not. 
Come on. Oh, Lord my feet! [Limps} 

SILAS. Gosh all hemlock 

LINDY. What's the matter? 

SILAS. Stepped on a splinter. \Pic\s splinter out of foot] 

LINDY. Then put on your shoes. 

SILAS. Not for fifty splinters, by tar. [Exits R. with Lindy} 

BUNCO. [Enters up L. and runs down. LooJ(s around] Wonder what time 
it is. Must be six o'clock. I feel like breakfast. Oh, dere's a tent. Maybe we can 
all get a cup of coffee. [Calls off stage] HOCHDO, hoo! Come on, yes, all right. 
[Crosses bac\ as Ralph and Rose enter up L.] Give me de baby. Dere, dere 
you poor child, is you cold? 

RALPH. [Down run] Be careful, dear be careful. 

BUNCO. Shall I go to the tent and ask for some breakfast? 

ROSE. No, no don't do that, Bunco. I'm so afraid, dear, that we might 
meet someone who would know us and betray us to the police. 

RALPH. Sit here, dear. Now listen. We can't wander around as we have 
done all night. I'll give myself up, dear. 

ROSE. No, no, Ralph. 

RALPH. It's the only thing to do now. I am innocent. Bunco there can 
prove that. 

BUNCO. You just bet I dan. [Crosses up stage, bac\ to audience] 



194 LILLIAN MORTIMER 

RALPH. Don't look so downhearted, Rose. Our sun will shine again. 
Already my heart feels light. 

ROSE. Oh, Ralph, you inspire me with confidence. I couldn't bear to lose 
you again, dear. 

RALPH. We must be brave and try to face with cheerful hearts whatever 
the future has in store for us. I feel sure that in the end all will come out right. 

ROSE. But what shall we do with John Livingstone? 

BUNCO. Put him in a cage and throw sugar at him. [Crosses to tent] Hully 
Gee. Sneak! 

ROSE. What's the matter! 

BUNCO. We're up against it. De old gypsy hag is in dat tent. 

ROSE. Oh, what shall we do? 

BUNCO. Come on dis way. 

RALPH. Don't be so frightened, dear. Be brave. 

ROSE. For your sake, 111 try. 

RALPH. My brave little woman. [All exit up L.] 

MOTH. T. [At door of tent] No sign of him yet, and I heard bloodhounds 
a-bayin'. I'm afeared they'll get him, the poor darlin', and if he should squeal, 
then my poor neck would be stretched. Oh, this is a sad, sad world. [Drinks 
out of bottle. Bess appears at door} Here, you come out do you hear? [Bess 
comes out] Go to the spring and get the bucket filled. Hurry up, you lazy 
hussy. Hurry, I say. [Pushes her] 

BESS. Oh, I can't [Falls] I can't go so far and carry that heavy bucket. 
I'm so weak and sick and I've had nothing to eat today. 

MoTH.T. Well, I've been away on business. He, he, he. [Coughs and 
crosses to R.] D'ye hear? Haven't had time to go to town for groceries. One 
day's starving won't hurt you. Ye ought to be used to it by now. 

BESS. Yes, if one can get used to starving. I've been hungry often enough, 
Oh, why don't you let me die at once and not kill me by inches? 

MOTH. T. It's safer by inches, darling. Then there's no danger. Oh, I'd 
have strangled you long ago if I'd dared. Get up! [Kic^s her] Get the water 
before I beat you again. 

BESS. I won't. [Rises and faces her] You may beat me till I die, I won't. I 
won't be your slave any longer. 

MOTH. T. What? He, he, he. We'll see, my fine lady [Drinks] We'll see. 
[Crosses into tent] 

BESS. [Falls on knees, sobbing] Oh, dear God, let me die, let me die. Per- 
haps somewhere in Heaven I may have a mother to guide me, I'm so terribly 
alone here so terribly alone. 



NO MOTHER TO GUIDE HER 195 

MoxH.T. [Enters with whip] So you'll stand out against me, eh? Get up 
do you hear? [Crosses to L.] 

BESS. I wont' I won't! 

MoTH.T. [Strides her with whip] Then take that, you lazy whelp. Ill 
teach you to mind. [Raises whip again] 

JAKE. [Enters L.U., catches whip] You she devil! If ye wasn't so old, I'd 
cut ye in pieces and leave yer bones fer the crows to pick. 

MoTH.T. Jake Jordan! 

JAKE. Yes. Thought I was in jail, eh? Well I've served my time. Ye've 
forgotten that, eh? Git up, sis. [Helps Bess up] Ye'll get no more beatin's. 

BESS. God bless you, sir. [Sits R.C. on stone] 

MoTH.T. [Screams] What do you mean? 

JAKE. Jest this. I've made a full confession. If the cops land Livingstone 
tonight, he'll take his last rest at the end of a rope. 

MOTH. T. Would you squeal on a pal ? 

JAKE. Pal? Has he been square with me? Tried to murder me in cold 
blood and you helped him you dried-up old mummy. But I'll leave the 
Devil to settle wid ye. 

MoTH.T. Oh, don't talk that way, darlin', ye make my bones rattle. 
[Crosses L., drinks. Dog barfe] 

JAKE. De hounds. Dey is on de trail again. 

MOTH. T. Oh, Lord. Oh, Lord [Starts to go] 

JAKE. Stay where you are de cops'll need you. Get into dat tent. 

MOTH. T. Oh, oh, darlin' my sweet boy. 

JAKE. Don't darlin' me you old crow. Get in there. [Pushes her into tent] 

BESS. Oh, sir, will they catch John Livingstone? 

JAKE. Yes unless he is sharper than those bloodhounds that are after him. 

BESS. What's that? Oh, it's Bunco it's Bunco! [Bunco singing old song 
off stage, "When the Robins Nest Again"] 

BUNCO. [Enters L.] Hully Gee does me lamps deceive me? Bess! [Em- 
braces her] And me old college chum shake, Jake. [They sha\e hands] 

JAKE. You bet. Well, kid you're all right. 

BUNCO. Well, say, where did you two drop from? I feel as if I'd found my 
family. Oh, Gee. Say, I helped you once, old pal now you must help me. I 
know I kin trust you. De dearest friend I have in de world is in trouble. Will 
you stand by me ? 

JAKE. Till death, kid. 

BUNCO. [Shades hands with ]a\i\ De same. Well he's just escaped from 
de pen and found his wife. Hully Gee she's got two husbands now. 

JAKE. She married Livingstone, didn't she? 



196 LILLIAN MORTIMER 

BUNCO. Yes. Livingstone's de guy dat sent him to de pen. Dey are in de 
woods hidin'. De cops have turned de bloodhounds loose. 

JAKE. I know somethin' about his case. 

BUNCO. You do? 

JAKE. Yes. Bring them here. 

BUNCO. You bet. [Exits down R. Sunlight till curtain. Bess sways and 
faints] 

JAKE. Dat kid's all right. Sit down, sis. Dere don't tremble so. You're 
safe. De cops will run Livingstone down, den de sun will shine brighter fer 
you. I've had a few ups and downs myself, but now I'm goin' to be honest. 
We're all lookin' fer happiness in dis life and it's wisest to be getting it by 
being straight, than by being crooked. [Goes to stump, R.] 

BESS. Oh, it is, is it? 

JAKE. Dere now you've got a friend in me, sis, and don't you forget it. 

BUNCO. [Outside] Come on, Mr. Ralph here's de guy. 

JAKE. Hello dey're comin'. [Ralph, Rose and baby enter L. Bunco runs to 
Bess] 

RALPH. Mr. Jordan 1 [Holds out hand] 

JAKE. Jake, pardner. 

RALPH. You'll help me out of this ? 

JAKE. You betand I kin do it too. I know you're innocent. 

ROSE. [Crosses to L] Bessie if you had only known! 

BESS. Oh, Miss Rose, will you let me see your baby? 

ROSE. Don't wake him, Bessie. 

BESS. Oh, baby baby [Sobs] 

ROSE. There, there, you shall come home with me and have him as long 
as you like. 

MOTH. T. Oh, oh, let me out. Good, kind gentlemen let me out. 

JAKE. Here comes a cop. [Rose, Bess and Bunco cross up stage C] 

MOTH. T. Oh, Lord. [Officers enter with dog up R.] 

OFF. Hello, Jake is that you? 

JAKE. Yes, gov'ner see any sign of him? 

OFF. Dogs seem to have lost the trail. Who's that? 

JAKE. A friend of mine, gov'ner. I say, ye might question de old hag in 
dere. She's de old hag who has done Livingstone's dirty work for years- I've 
got her in there. Question her. 

RALPH. [Crosses to C.] One moment, Officer. I'm Ralph Carlton, escaped 
from Sing Sing. I want to give myself up until you have evidence of my inno- 
cence, and that will be soon. 



NO MOTHER TO GUIDE HER 197 

OFF. Yes, we have the confession of Jake Jordan here, which looks well 
for you. However, I'll have to put the bracelets on you just as a matter of 
form. I believe you are an innocent man. [To police] See if the dogs can 
find the scent again. I have business here. Start for the caves, men. [Other 
officers have their dogs] Hallowell and Cane, have their dogs -on the trail to 
the west. [Police exit LU. over run with dogs] Now I'll see the old woman. 
[Opens door to tent] Come out, madam. 

BUNCO. [Down stage] Oh, Gee now mudder is goin' to get it. 

MOTH. T. [Enters from hut] Oh, oh, oh, I'm an innocent woman, darlin'. 
Oh, oh, oh! 

OFF. Innocent, are you? Well, Livingstone says not. 

MOTH.T. What have they got him? [L.C.] 

OFF. Yes, and he will be condemned for murder. 

MoxH.T. Oh, the wicked, wicked boy. 

OFF. And it looks as if you'd die with him, my woman. 

MoTH.T. Me? Oh, good Lord. Darlin' what for? 

OFF. Well, Livingstone has confessed that you were implicated in the 
Cosden robbery and the murder as well. 

MOTH.T. He lies he lies! The dog. He did it himself. 

OFF. Also the attempted murder of the young lady's father. 

MOTH. T. Oh, the hound. I was at the camp at the time. He did it himself. 

OFF. Then how did you know he did it? 

MOTH. T. He told me himself. 

OFF. [Making notes] Ah, very good. I think I shall have to borrow your 
bracelets, Mr. Carlton. [Does so. Mother Tagger starts to run] 

BUNCO. Hold on, mudder [Catches her] We need you. 

OFF. [Puts bracelets on Mother Tagger] Allow me. 

MoTH.T. Oh, oh, darlin'l 

BUNCO. How do you feel? Kinder natural, mudder? 

MOTH. T. Wait till I get out. 

BUNCO. Oh, I'll wait. 

OFF. Oh, I'll take care of you. [Exit LU. Hounds bay] 

JAKE. The hounds are on the scent again. Sounds as if they were over by 
the falls, [Goes up and exits f La.] 

ROSE. [Crosses to Ralph] Oh, Ralph, I'm so afraid. 

RALPH. Go into the tent, dear. I'll be right back. [Goes up and exits, L.j 

BUNCO. Where are you goin', Mr. Ralph? Hully Gee, I wish I was on the 
police force. [Livingstone fires revolver off R.2. Rose exits into tent] 

BUNCO. [Off stage] Oh, look loo\ he's coming. 



198 LILLIAN MORTIMER 

Liv. [Enters Ra] Stand out of my way. [Throws Bunco R. Shots are 
heard outside. Livingstone covered with blood, revolver in hand. Ladies 
scream, dogs barJ^. Bess is R. Crosses to L. Rose R.] 
SILAS. As the constable of this county I order you to surrender. 
Liv. Til see you in hell first. [Snaps revolver at him. He is out of shells] 
Damnation! [Up on run] 
SILAS. Surrender, or I'll fire. 

Liv. Fire, and be damned. [Runs to La. Ja%e comes out on run, meets 
him, %nife in hand] Jake Jordan! 
JAKE. Yes. 
Lrv. I have no knife. 

JAKE. [Throws \nife away] Neither have I. The best man wins. [Fight. 
Livingstone hits ]a\e on head, starts to exit L.U. Meets Ralph] 

RALPH. John Livingstone, I said we'd meet again. Fate has made me the 
instrument of justice. [BacJ(s Livingstone down run] For years you have made 
me suffer. Now you shall pay for it to the last penny. 
Liv. Have mercy! 

RALPH. What mercy did you show me ? 

BESS. Ralph for my sake. [Grabs his arms. Ralph turns a second to Rose, 
Livingstone starts for him with J^nife. All scream. Jafe shoots. Silas catches 
Livingstone] 

JAKE. Livingstone, old pal, you've planned your last crime. [Officers enter] 
SILAS. We've got your man. He's dying. Take him away. 
Liv. Jake Jordan, I'll meet you in Hell. 

JAKE. No, guv'ner I ain't goin' that way. [Officers exit with Livingstone. 
Bess crosses to entrance. Bunco puts arm around her] 
RALPH. Rose! 
ROSE. Ralph! 
SILAS. Ltndy, come into campl 

CURTAIN 



BILLY THE KID 
By Walter Woods 



DESCRIPTION OF CHARACTERS 

WRIGHT, a man of sixty. White hair, long white moustache. 

MARY, a woman of thirty- five. 

BILL, fifteen at opening of play. 

BRADLEY, a military looking man of sixty-five. Moustache and chin whiskers. 

NELLIE, about Bill's age. 

DENVER, a well preserved man of forty; looJ(s younger. 

CON, Denver's age and loo\s older. 

MOSE, a clean-shaven old man. 

PEANUT, blac\ moustache and beard, low forehead, long hair. 

BUD, a tough-looking character, stubby moustache. 



COSTUMES 

BILL : Act I: Ballet shirt, tyiee pants, soft hat. End of act, long coat, 

Act II: Blac^ velvet coat, wide-necked shirt, light riding breeches, top 

boots, light sombrero. 

Act HI: Leather breeches, blue shirt, red handkerchief about necJ^, cart- 
ridge belt with revolvers. 
Act IV: Same as Act II, with addition of long gray rain coat. 

DENVER: Act I: Traveling suit. 

Act II: Elac\ suit, outing shirt, slouch hat. 

Act 111: Same, soiled and torn. 

Act IV : Same, more soiled and torn. 

COLONEL: G^AJR.. uniform. 
MOSE: Same. 

CON: Act I: Overalls and jumper. 
Act II: Cowboy outfit. 
Act III: " 
Act IV: " 

WRIGHT: Act I: Plantation suit of light crash. 
PEANUT : Mexican suit. Last act, cloa\. 

MONROE: Cowboy. 

MOLLY: Flashy dress. 

JENNIE : Act I: Flashy dress. 

Act III: Plain maid's dress. 
Act IV: Same, with wrap. 

NELLIE : Act I: Light summer dress. 

Act II: Western riding habit, short styrt, shirt waist, sombrero. 

Act III: Neat house dress. 

Act IV: Walking suit with wrap. 

(Three sets o scenery are necessary. Last act is the same as Act I, with the 
addition of a transparent return to house) 



CHARACTERS 

IN ACT ONE 

STEPHEN WRIGHT, a ranch owner. (Old man) 

MARY, his wife. (Juvenile} 

WILL, Marys son. (Lead) 

COLONEL WAYNE BRADLEY, a retired army officer. (Character) 

BOYD DENVERS, an Eastern gentleman, (Heavy) 

CON HANLEY, a hand. (Comedy) 
MOSES MOORE, an ex-orderly. (Character comedy) 

MAID (Utility) 
NELLIE 

IN ACT TWO 

BILLY, THE KID, a Western desperado. (Lead) 

CON HANLEY, his lieutenant. (Comedy) 

BOYD DENVER, owner of the Broken Heart Saloon. (Heavy) 
"PEANUT" GIVANNI, manager of Broken Heart Saloon. (Character heavy) 

BUD MONROE, a bad man. (Character) 

HANK, bartender. (Utility) 
COLONEL WAYNE BRADLEY, still retired. 
MOSES MOORE, still an "ex!" 

\ women of the Broken Heart. 
JENNIE ) 

NELLIE BRADLEY (Lead) 

MINERS, DEPUTY SHERIFFS, ETC. 

NOTE: Cast can be doubled to seven men, three women. 

SYNOPSIS 

ACT I. EXTERIOR OF WRIGHT^ COTTAGE 
"THE OATH OF VENGEANCE" 
ACT II. THE BROKEN HEART SALOON (THREE YEARS LATER) 

"YOU SHALL FOLLOW ME" 

ACT III. COLONEL BRADLEY's DINING ROOM (ONE WEEK LATER) 
"POLLY HAS ARMS OF HER OWN** 

ACT IV. SAME AS ACT I 

"VENGEANCE is MINE" 



ACT I. 

SCENE : Landscape in 5. Picket fence at bac\. Large Southern home with porch . 
L. Canary in cage hanging from porch. Well curbing, foot and a half high, 
up L. Table and chair R. DISCOVERED: Con seated on well curb, smoking. 
Enter Maid from house, with bottles and glasses. Puts them on table. Enter 
Wright RUE. followed by Denver. 

WRI. Con! [Con jumps up and gets busy] 

CON. Yis, sor. 

WRI. Have the niggers bring up a few loads of gravel and fill that old 
well. [Goes to table f sits L; Denver sits R.] 

CON. Well, well. All's well that ends well. 

WRI. What's that, suh? 

CON. I said, very well, sor. That would end the well, sor. [Exit L.] 

WRI. [Pouring drinks] Somebody will fall in there yet. It's a nuisance. It's 
thirty feet deep and dry as a bone. We get all our water from the artesian 
well, yonder. 

DEN. Thirty feet deep ? A dangerous hole. 

WRI. Yes, suh. Why a person could fall in there and no one would ever 
know what became of him. 

DEN. [Half to himself] Excellent. 

WRI. What's that, suh? 

DEN. The ah whiskey is excellent. 

WRI. You're a gentleman, suh. Any man who is a judge of whiskey is a 
friend of mine. [They sha\e hands] 

DEN. I'd often heard of your Southern hospitality, and rather doubted its 
existence myself; but during my short stay here you have converted me for 
life. 

WRI. Tut, tut, tut, suh! You have only received the treatment that any 
gentleman may expect. Have another drink. And remember, until you are 
ready to leave this rather dismal landscape, you are my honored guest. 

DEN. It's a beautiful spot beautiful. And you have a charming wife and 
a wonderful son. No wonder you are contented. 

WRI. Contented? Contented is not the word, suh. Happy, suh, downright 
happy! 

DEN. [Slight sneer] Indeed? 



204 WALTER WOODS 

WRI. Yes, suh. Why hang it, I'd like to see the man who could help but be 
happy with Mary for a wife. A lady, suh one of your sort from up North. 
How she ever came to care for an old codger like me, is more than I can 
guess. 

DEN. You underrate yourself. 

WRI. Not a bit of it. My youth is far behind. I'm rough in my ways, and 
I never took a prize in a beauty show. [Denver laughs] Although I am well 
fixed financially 

DEN. [Still laughing] Well, there, there! That last remark doubtless 

WRI. Hold on, my friend. I was going to say that although I am well fixed 
financially, Mary would never wed for money, and if any man was to hint 
at such a thing, I believe I would kill him. [Denver suddenly ceases laugh- 
ing; he looJ^s at Wright] 

DEN. [Intense] I believe you would. 

WRI. [Light] You and she must become great friends, suh. Perhaps per- 
haps she sometimes feels sort of lonesome, way out here in the West, and 
you two can talk over New York until this ranch will seem like a suburb of 
the great city. 

DEN. I am sure Mrs. Wright and myself will become great friends but I 
hardly think we will discuss the East. During our short interview this morn- 
ing, I could see that her whole interest lies with her home, husband and boy. 

WRI. [Huskily] That's kind of you to say that, suh. Yes, suh [Fills glass 
to hide his emotion, spills liquor] Yes, suh. 

CON. [Enters L.U.E.] For the love of Hiven, don't spill it, 

WRI. What the devil is the matter with you, Con? 

CON. If I hadn't arrived just when I did, you would have poured it all on 
the ground. 

WRI. Thanks for getting here in time. [He tal\s to Denver] 

CON. [Aside] Thanks is it? That's a mighty dry reward for saving a 
man's whiskey. [Aloud] I've told 'em, sor. 

WRI. Eh ? Told who ? Told what ? 

CON. Well, well, well, how forgetful ye are. I've told the niggers. 

WRI. Oh, yes. About filling the well. 

CON, That well and me, sor, are alike in one respect; and then again we 
differ with the advantage all on the side of the well 

WRI. How is that, Con? 

CON. Well we're both as dry as a bone, [Wright and Denver laugh\ 

DEN. Very good, Con. 

CON. But the well is going to be filled up. 



BILLY THE KID 205 

WRI. [Rises, crosses to Con, C. t laughing] So are you, Con. Help yourself, 
but go light on it. [Goes up L. Con crosses to table, ta%es bottle and glass, all 
the time watching Wright. Seeing his bac\ turned, is about to drin\ from 
bottle when he turns and sees Denver watching him] 

CON. Turn yer head, can't ye? What do ye want to be watching a man 
drink for? [Growling] Old Tom the peeper! My, my, but it's a beautiful pair 
of eyes ye have in your head. I love to look at 'em. [Pours glass full and 
drinks] Well, how did ye like the way I did it? 

DEN. You seem to have taken a dislike to me, Con. 

CON. I have not. I wouldn't take the trouble. 

DEN. [Low} One word to Wright of your insolence to me today and he 
would kick you off the place. 

CON. One word to him about the little talk I overheard ye having wid his 
wife this morning and ye would never leave the place alive. 

DEN. [Rises, uneasy] What did you hear? 

CON. That's none of your dom business. Turn yer head, will ye? I want 
another drink. [Denver turns, agitated. Con drinks from bottle] 

DEN. Have another, Con? 

CON. What's the use? The more I drink the less I talk. 

DEN. [Hurriedly] Before you tell Wright anything I wish to see you 
alone. 

CON. No, I'm not going to tell him. That seems to relieve ye, don't it? 
No, I wouldn't spoil his happiness for the world. But I'll keep me eye on you, 
my laddy buck, while ye stay here which had better not be long. 

DEN. Meet me here, in an hour alone. 

CON. All right. In the meantime, me and the well will proceed to get full 
together. [Goes up stage] 

DEN. [Aside] And you, my friend, will be at the bottom of it. 

WRI. [As Con joins him] Will the niggers start on the well at once? 
[Con shades his head] No, suh? Why not, suh? 

CON. Billy is using 'em for cattle, sor. He's learning to be a roper, sor. 

WRI. I'll rope him. Tell him I want him. Tell him -tell him. 

CON. T'ell with him. 

WRI. What? 

CON. I said I'd tell him, sor [Exit L.UJE. Wright laughs] 

DEN. The servant seems on excellent terms with the master. 

WRI. [Comes down] Servants? Haven't a one on the place; they are all 
my friends. Master? There is but orie Master above. [Crosses to table] 

DEN. [Up L.] And one servant who never fails us below. [Loo^s in 
well] A dangerous hole, dark and deep. [Con enters L.U.E. behind Denver 



206 WALTER WOODS 

and overhears his last remar\. Wright is busy mixing a julep and does not hear 
the following] 

CON. Nice place to pitch a man, eh ? 

DEN. [Starfr] Damn you! [Shows anger; Con stares at him insolently] 

CON. Look at the purty eyes on him! 

DEN. [Recovers himself and laughs} You possess the true Irish wit, Con. 
I see you are trying to have fun at my expense by making me angry, but I 
refuse to be a victim. You and I shall be friends. [He holds out hand] 

CON. [Tafes hand] Whenever I meet you, I shall always be glad to hold 
your hand like this. 

DEN. Thank you, Con. 

CON. So ye can't stick a knife in me. [Denver, in anger t attempts to snatch 
hand away; Con holds it] 

DEN. Let go of my hand, you Irish cur, you are hurting me. Let go I say! 

CON. I'll let go when I get through wid it. You gave it to me. I didn't ask 
for it. [Pinches his hand at every chance. Denver shows signs of pain] There. 
[Throws hand] I'm through with that hand forever. 

DEN. I'll make you smart for this! 

CON. What's the use? I'm smart already. You said I had the true Irish wit. 
[Laughs and crosses down to Wright] 

WRI. [Enters R.J.] Hello, Con. Did you tell Billy? Is he coming? 

CON. Yes, sor. No, sor. 

WRI. Yes, suh no, suh! What do you mean? 

CON. Yes, sor, I told him. No, sor, he ain't coming. 

WRI. Why not? 

CON. He's practising wid his revolver. He wants to be a crack shot, 

WRI. I'll crack him when I see him, confound him. 

CON. Yes, confound him, but Con couldn't bring him wid a yoke of oxen. 
[Exit L.UJS.] 

DEN. [Crosses to table] That boy of yours, Billy, seems full of mischief. 

WRI. Full of life, love and kindness, sir. A better boy never lived. A little 
wild perhaps but that will wear off in time. Brave and reckless as any cow- 
puncher on the ranch; a hard rider, a good roper and a sure shot. But he 
ain't mine, more's the pity. You see, Mary was a widow when I married her. 
Had a little boy baby. But he's grown up just like mine and will never know 
the difference. 

DEN. [Surprised] She had a child when she married you? 

WRI. Yes, poor thing. She had married a cur, a sneak who deserted her. 
Then he died, which I reckon was the only decent thing he ever did in his 
whole life. 



BILLY THE KID 207 

DEN. [Aside] She had a child. 

WRI. Mary is only half my age, suh. But our love is as young as a honey- 
moon. There's only one mar to my happiness. I'm sorry the scoundrel who 
caused her such unhappiness is dead. I should like the pleasure of killing him. 
[Crosses to house] 

DEN. [Aside] A dangerous fool. I must be careful. 

MAID. [Enters on porch] Supper's ready, sir. [Exits] 

WRI. Supper! That's welcome news to a couple of hungry men, come in, 
suh. Come right in. ['Marching Through Georgia" Exit house] 

DEN. [Following] She had a child. [Exit house] 

COL. BRADLEY. [Outside] Column right, march! [Enter RUE. in single 
file, Colonel, Mose and Nellie. They march down C] Halt. [They do so] On 
left into line, March! [They line up. Nellie L., Mose C., Colonel R] Now 
we'll call the roll. 

MOSE. No, sir. 

COL. Never, sir. Damme, sir. 

MOSE. Never, sir. 

COL. When I have to swear, I can do it myself, can't I ? 

MOSE. I should say you could. 

COL. Where's that girl? [Calls] Nellie I mean, Sergeant, come here. 

WRI. [Enters from house] Hello, Colonel. Glad to see you. [They shahf 
hands] You are just in time. Drop the tactics and we'll go in and have a 
julep before supper. Mose, you are a deacon so I mustn't tempt you. Just 
make yourself comfortable. 

MOSE. Thank you, sir. [He drops military air and goes up, filling his pipe] 

COL. That's it. The army is demoralized by the accursed drink. 

WRI. Why, I thought you would like a little something after your long 
ride. [Calls in house] Sam, never mind the juleps. 

COL. Hold on there, never countermand an order. Besides, I didn't say I 
didn't want one. I said it demoralized the army. I am an officer. [Exit both, 
laughing, arm in arm] 

MOSE. Wish this army had a little demoralizing. Deacon, eh! Only on 
Sundays. [Sees bottle on table] Attention! Forward march! [Goes to table, 
salutes and fields up bottle] 

CON. [Enters] Heave to! [He throws shovel of sand in well] 

MOSE. Heave two? I haven't had one yet. 

CON. What are ye doing wid that whiskey? 

MOSE. Whiskey? What me a deacon? This ain't whiskey. 

CON. The saints protect me. I've lost me taste. What is it? 

MOSE. It's a a nerve tonic. 



208 WALTER WOODS 

CON, Well, me nerves are all on edge. Give me a taste. 

MOSE. [Filling glasses] Mind this is only medicine. 

CON. I know it. Make mine a big one. [Mose ta\es glasses. Hands one to 
Con] Well, here's looking at you. [Con C. Mosc R. of C. Enter Bill, R.UJE. 
He comes down between them] 

MOSE. Happy days. [Both drin^. Bill slaps them on bac\ and both spit out 
liquor] 

CON. Heave two. 

MOSE. One's enough for me. 

BILL. At it again, eh? Mose, I'm ashamed of you, a deacon. 

MOSE. Only on Sundays, Billy. 

BILL. Con, I thought you signed the pledge. 

CON. I did not. I only swore off. There's nothing to prevent a man swear- 
ing on again, is there? 

BILL. [Laughing} You are a pair of frauds. 

CON. Supper's waiting for ye, Billy. 

BILL. Well, I'll wait till you go, to keep you out of temptation. Besides, I 
want to tell you how well I'm getting on with my shooting. I hit the bull's 
eye ten times hand running. 

CON. Ye did? 

BILL. And I roped seven niggers out of eight. 

CON. Billy boy! 

MOSES, Better study your schooling. All them things won't do you no 
good. 

BILL. Won't eh? Oh, yes, it will 'cause I'm going to be a pirate. 

MOSE and CON. A what? 

BILL. A pirate on the high seas. I'm going to hold up trains and stages. 

MOSE. What? On the high seas? 

BILL. No-o. I'm mixed. The book I've been reading last was about a knight 
of the road, not a pirate. 

MOSE. Leave them books alone, son. They'll fill your head with trash. 

BILL. No trash about this. I'm going to be one of 'em and Con is going to 
be my lieutenant. Ain't you, Con? 

CON. [Winding at Mose] Sure thing, Billy. 

BILL. No fooling now. 

CON. Divil a bit, 

BILL. Put her there. [Holds out hand] 

CON. [Wiping his hand on his pants] Wait a bit, Billy; I shook wid a 
blackguard a while ago. [He shades his hand] 
MOSE. Now, Con, don't go putting that boy up to any foolishness* 



BILLY THE KID 209 

BILL. This ain't foolishness, Mose. We're going to hold up only the rich 
people and carry them off to our cave for ransom. 

CON. What is a ransom, Billy ? 

BILL. I don't know. 

CON. Well, how in blazes are ye going to hold 'em for it if you don't know 
what it is ? 

BILL. Oh, it means death; hold 'em until they die, see? 

CON. Well I think that will be a heap of trouble. Why not take a gun and 
ransom 'em as soon as we capture 'em? 

MOSE. Con, stop teasing die boy. 

BILL. Then we'll capture Nellie and I'll marry her. 

CON. Oh, ho! Nellie is it? Sure yer stuck ori hen 

BILL. Never you mind, Con. She's going to be my wife some day. 

MOSE. Great guns. What notions Pirates, ransoms and matrimony. 

COL. [Inside] Forward march! 

BILL. Here she comes now. 

MOSE. And here comes the Colonel. [Stands at attention. The Colonel en- 
ters from house, followed by Nellie] 

COL. Halt! Where's the rest of the army? 

NELL. Billy! [Rushes to him] 

BILL. Nellie! [They sha^e hands and retire up stage] 

COL. Attention! About face Halt, do you hear? [Bill and Nellie pay 
no attention. Con rushes down beside Mose, and presents arms with a spade'] 

CON. Prisent. 

COL. What are you doing here? 

CON. I am a sub-sti-tchute. 

COL. Get out, both of you. [Con goes L. Mose does not move~\ Well! What 
are you waiting for ? 

MOSE. The proper command, sir. 

COL. Left face, forward march! [ Mose exits in house, followed by Con 
imitating his manner. Colonel crosses to table] Now then, you young rapscal- 
lions. [Sits] I say, you [Bill and Nellie wal\ toward house, talking] I'll have 
you on the a hip, sir. On the hip hip 

CON. [Enters at door} Hurray! [Exits. Colonel fumes; turns to bottle] 

BILL. When I'm a man, Nellie 

NELL, When you are a man. [They %iss. Nellie exits in house] 

COL. [Turns] Eh? What's that? 

BILL. What's what? 

COL, That noise. Sounded like [Smacks lips li\e a %iss] 



210 WALTER WOODS 

BILL. O-oh that? Why that was the little bird. Birdy chirped. [Smacks 
lips at the bird] Didn't you hear birdy chirp? 

COL. Yes, but hang it, I never heard her chirp like that before. 

BILL, [Still making noise at bird] Birdy wants her chickweed. 

COL. I think birdy got her chickweed, 

BILL. Say, Colonel, I want to whisper something to you. 

COL. [Rises, goes C] Well, what is it? 

BILL. [Whispering] I love Nellie. 

COL. Eh? 

BILL. [Louder] I love Nellie. 

COL. What's that? 

BILL. [Yells] I love your niece, Nellie. 

COL. Ouch! Well, you needn't take my head off. I'm not deaf. Say, Bill, I 
want to whisper something in your ear. 

BILL. Go ahead. 

COL. [Whispers] So do I. 

BILL. Soda what? 

COL. [Louder] So do I. 

BILL. What kind of soda? 

COL. SO-DO--/. 

BILL. Ow! All right, Colonel, but I've won her and we're going to be 
married when I'm a man. 

COL. [Mocking Bill] When you are a man, Billy. [Smacks lips. Both exit, 
laughing, L.I.E. Enter Denver from house, followed by Mary Wright] 

MARY. You wish to speak to me alone? Speak quickly, I can grant you but 
a moment. 

DEN. Indeed? [C. Loo^s at her] What a change. How happy you must 
be. 

MARY. Why why did you come here. To torture me? 

DEN. Bosh! I torture? I am going to take you away from this life of 
monotony to one of pleasure. 

MARY. I am happy with my husband. 

DEN. Your husband? You flatter me. You were never divorced to my 
knowledge. I still bear that title, 

MARY. [Putting hand to head] Oh, I had forgotten. I fear I shall go mad 
I thought you dead. This morning when you came like a black cloud from 
the wretched past, my heart stopped beating, I would gladly have died. After 
a little, rather than cause my the man whose name I bear the sorrow that 
your real identity would bring him, I decided to remain silent. But do not 



BILLY THE KID 211 

torture me more with your presence. My patience has a limit, and rather than 
endure your sneers and insinuations, I will tell Mr. Wright all. 

DEN. [Frightened] You would tell him? Have you forgotten the love you 
once bore me ? 

MARY. [Sits on steps] Yes. As completely as you did when you so cruelly 
deserted me. Oh, my struggles for an honorable living were bitter but I bore 
them, until an honest love crept into my barren life and showed me true 
happiness. [Wearily] And now it is all over. 

DEN. Nonsense. I don't want you to leave him that is, not yet. 

MARY. And do you suppose I would pass another day under his roof 
knowing that I am not his wife? 

DEN. Why not? He has certain deeds that I must get. You can help me 
in this. Then we will clear out forever. 

MARY. Shame! When will your evil heart grasp the fact that I am not 
your tool? 

DEN. Sh-h! [ Wright appears at door] As you say, your husband is a prince 
among men. I do not wonder you are proud of him. [Wright, thinking he 
has been unobserved, quietly exits, house] 

MARY. What treachery! 

DEN. [Smiling] Diplomacy, my dear. 

MARY. One word from me to the man you are so basely deceiving, and he 
would kill you. 

DEN. Yes. I am aware of his bloodthirsty tendencies, therefore I have no 
thought of allowing you to tell him. Suppose I took to supplying him with 
past history. For instance, you spoke of your virtuous struggles from the time 
I left you until you married Wright, but I learned today that when you came 
to him you had a child. 

MARY. Why that child is 

DEN. There, there. I don't care for explanations; they are tiresome. 
Enough that I know you and you know me. At present I am in something 
of a hole shady transaction back East. I had to leave suddenly. Wright has 
the very deeds I was supposed to have forged. By hook or crook I must have 
them. I came here, never dreaming of finding my charming consort of six- 
teen years ago. Fortune favors me. You will be of great assistance. 

MARY. [Rises] Enough. I will at once inform my husband. [Starts] 

DEN. He is not your husband. You are a bigamist. One word from me 
will land you in jail. 

MARY. Do you think I care for that? I will tell the truth, take the conse- 
quencesand let you do the same. 



212 WALTER WOODS 

DEN. But the boy -he has a home, a name. What would he think of you 
if he knew. 

MARY, My boy! 

DEN. Be reasonable for his sake. 

MARY. I will keep your secret today. Tonight I will take my boy and leave 
this place forever. 

DEN. You'll help me get the papers and go with me, eh? 

MARY. You contemptible cur No, I would rather die. 

DEN. Curse your tongue. Take care or I'll [Raises hand to stride] 

MARY. Oh, no, you won't. You are too cowardly to strike me. -You know 
there are those who would call you to a swift account for assaulting me. You 
will vent your spite on the woman you have so cruelly wronged, in a more 
cowardly fashion and at a time when there will be no one to aid her. 

DEN. You're right, I will. [Mary exits] Oh, I'll get even. Ill touch her 
heart. She's soft on her boy. Mothers always are. [Laughs] III lead that boy 
to a life of dissipation crime, if I can manage it. Oh, 111 touch her to the 
quick. I'll shrivel her heart up like the blackened embers of a discarded 
camp fire. How I hate her brat. I could kill him by inches. I'd like to tear 
his heart out! I'd like to [His hand is raised above his head. Enter Bill L.xJE. 
Denver changes manner]to take you by the hand, my dear boy. I've heard 
so much of you. [They shaJ(e hands] 

BILL. From Con? 

DEN. Why ah yes, from Con. 

BILL. Well, don't believe anything he tells you. He's the biggest liar in the 
state. 

DEN. [Laughs] I don't believe he exaggerated in your case. 

BILL. Well, if he didn't, it was an accident but he means it for the best. 
He's my pal. 

DEN. Considerable difference in your ages, for pals, don't you think? 

BILL. Oh, that don't make any difference. You see I never had any boys 
to associate with. I have been brought up with men. [Crosses to table] 

DEN. Con said you were as much of a man as any of them. What do you 
intend to become a scout? 
BILL, A pirate. 
DEN. [Laughs] A pirate? 

BILL. That's what Con and I play we are going to be. [Laughs] It's only 
in fun, sir. 

DEN. But you are too big and brave a lad to play at adventure, why not 
have a real one? Let's have a drink? 
BILL. No, sir, I never 



BILLY THE KID 213 

DEN. What! You don't mean to say that a man like you never? Oh I 
see, don't want the old folks to know, eh? Well, you can trust me. Here, take 
a drink. 

BILL. [Flattered, ta%es bottle] Guess I can stand a pull. [Drinks] 

DEN. The people around here don't appreciate you, not even your father. 
I hear you are a fine shot. 

BILL. Oh, I can shoot some, sir. 

DEN. I'll wager you can. What sort of a gun do you use? 

BILL. This one. [Shows Colt] 

DEN. [Tafes it] Oh, a Colt. An old out-of-date pattern, too. [Tosses it on 
table] Let me show you something modern. [Tafes pistol from pocket] See; 
a double-acting, self -cocking, shell-extracting revolver. [Hands it to Bill] 

BILL. Gee! What a beauty! 

DEN. It shall be yours if you are the lad of spirit I take you to be. [Ta%es 
pistol, puts it in pocket] Now let's play a little joke on your father, just to 
show him the stuff you are made of. 

BILL. [Drinks. Shows a recklessness from the effects] I'm your man 
what is it? 

DEN. You know he keeps his private papers in the ah 

BILL. Little safe in his bedroom. 

DEN. That's it. Of course you don't know the combination 

BILL. Oh, but I do though. 

DEN. All the better. Now here's the plan. Your father has boasted there 
is not a man in the state who would dare hold him up for anything. And as 
for cracksmen, he defies the cream of them to get anything from his safe. 
Now, if you will get all his papers don't touch the money, that would be 
stealing but just the papers, and bring them to me, I will tell your father 
there is one man in the state that was a match for him and show him the 
papers to support my statement. He, of course, will be thunderstruck, and 
when he asks who this wonderful fellow is, I will introduce, Billy, the Prince 
of the Road. [Laughs] What do you think of it? 

BILL. [Laughs] That would be a fine joke, wouldn't it? I believe I'll try 
it. 

DEN. Of course you'll try it. You couldn't let such an opportunity slip. 

BILL. When shall we do it? 

DEN. Tonight. They will all leave the house in a few moments to see the 
Colonel start for home. That is our opportunity. Get a piece of black cloth 
and make yourself a mask. Saddle your horse and tie him yonder. After the 
folks leave the house, you slip in the back way. Now go. 



2i 4 WALTER WOODS 

BILL. [Starts} Won't Con be surprised? My, but that stuff makes you 
dizzy, don't it? and Mose laughed at me. I'll make them all proud of me 
yet. [Exits L.UE.} 

DEN. Fool! When I get the papers, I'll set the officers on his track. Two 
birds with one stone the papers, and the mother's heart broken over a worth- 
less boy. 

CON. [Enters -from house} Well, what divilment are ye hatching out now? 

DEN. Con, you are hard on me. Let us forget the difference between us 
for the time. Here is ten dollars. [Gives money} Go to the station and see if 
there is any mail for me. 

CON. Tin dollars fer going to the station? Yer paying mighty high fer a 
small service. [Throws down money} I won't go. 

DEN. [Angry} Why not? 

CON. I think you want to get rid of me, eh, me laddy buck? 

DEN. You are a suspicious fool. 

CON. Yes, that's the reason I'm going to keep me eyes on you. And ten 
thousand dollars wouldn't make me take them off. 

DEN. [Up stage] Keep them on as much as you like, my meddling friend, 
but it won't save Billy or the Wright family. 

COL. [Inside] Forward march! [Enter from house Mose, Nellie and 
Colonel. Mose crosses and exits R.UJE. Nellie goes up L.] Goodnight, Mr. 
Wright, we're off for home. You and the Mrs. be sure to come over next 
Sunday, good-night. 

WRI. [At door] Wait a moment, Colonel. We'll see you off. Wife's in her 
room getting her hat or something. 

COL. Don't bother, Wright. We know the way, good-night. [Crosses and 
exits R.UJE.] 

WRI. Wait a minute, Colonel. [Exit house, calling] Mary, Mary! 

NEL. Where can he be? 

DEN. Looking for someone, Miss Bradley? 

NEL. Yes, I was looking for Billy. 

DEN. You are too pretty a girl to waste your time on a country lout. 

NEL. Sir! I do not understand you. 

DEN. A city man would be more to your liking, eh? [Chucks her under 
the chin. She is astonished} 

NEL. Mr. Denver ! 

DEN. , There, there, don't be frightened. Give me a kiss before you go. 

NEL. [Slaps his face} You cur! [Crosses to R.UJE.] 

DEN. [Hurriedly] A thousand pardons. It was only a joke, I assure you. 

NEL. We will see if the "country lout" looks at it in that light. [Exits] 



BILLY THE KID 215 

DEN. The sting of that blow will cost you dearly, my lady. Damn their 
Southern pride, but I'll shrivel them all up before I'm through with them. 
[Exits RUE. Enter Mary from the house, followed by Wright] 

WRI. Mary! For God's sake listen to me. You do not -you cannot mean 
that you are going to leave me forever. 

MARY. Don't question me, I must. 

WRI. Oh, I do not need an explanation. [Bitterly] Youth weds with old 
age. It could not last. I might have known it. 

MARY. Stephen, it is not that. God knows I love you better than all the 
world. But I must leave you. 

WRI. But why why if you love me? 

MARY. I cannot explain. It would kill me it would kill us both. 

WRI. You do not mean disgrace? 

MARY. Yes. [Wright sin\s on porch, overcome] My heart is breaking. 
I must go. [Staggers to C.] 

DEN. [Enter RXJJE. not seeing Wright] Yes, and you go alone. 

MARY. I am going with my boy. 

DEN. You can't. He's going to jail. 

MARY. What do you mean? 

DEN. That I acted on your suggestion, refrained from blows and struck 
at your heart. By this time your son is a criminal and answerable to the law. 

MARY. [Half screams] What have you done? 

DEN. Revenged myself on your son. 

MARY. And yours as well. Fool, could not your cold heart have prompted 
the truth? He was your own child. You have sent your own flesh and blood 
to destruction. 

DEN. You lie. 

MARY. I speak the truth. 

WRI. [ Who has overheard. Rising] What does this mean ? [Denver fright- 
ened] 

MARY. It means that there stands the man who blighted my past as- well as 
my present happiness. It means that he is Boyd Bradley, my husband, and 
the father of my boy. 

WRI. Wait a bit, wait a bit. I can't seem to get these things straight some- 
how. 

DEN. [Drawing revolver] Then get it through your head quickly. She is 
my wife and she is going with me. 

WRI. [Low and intense] So this is the man who caused my Mary's un- 
happiness the man we thought dead. And now he returns to wreck afresh 
the life of the woman who trusted him. [Slowly approaches Denver} 



216 WALTER WOODS 

DEN. Be careful. Keep your distance. I am armed. 

WRI. And do you think I care for that? All the weapons this side of Hell 
couldn't keep my fingers from your throat. {Wright grapples with Denver. 
They struggle. Mary screams, goes down R. Revolver explodes, filling Mary. 
They struggle toward the well. Denver gets his pistol hand free and shoots 
Wright. He falls half in well, head first. Denver stands frightened, looking 
around} 

DEN. It was self-defensehe tried to murder me he threatened to kill 
me Mary heard him. [Sees Mary] Mary! Fainted! [Goes to her] Dead! God! 
I did not mean it. I did not mean it. [Overcome, sin\s on "knees. Suddenly 
starts up] They'll lynch me. [Crying] I am innocent. It was an accident and 
self-defense. They'll not believe it they'll not believe it. [In frenzy] I must 
get rid of the bodies somehow. The old well thirty feet deep and dark as a 
pocket. [Throws Wright in] My revolver, this must not be found. [Drops it 
in well] They will fill the well and all traces will be lost. His property will go 
to my wife she is dead. But the boy he stands between me and a fortune. 
Pshaw! He is an outlaw! I will put him where he will never trouble me again. 

BILL. [Enters from house, blac\ ma$\ on] Here are the papers why, what 
is the matter? [Drops papers] Mother! [Runs to her] Mother, Mother, speak 
to me! [Loofo up in agony, husfy voice] Mr. Denver look at me look me 
in the face. What has done this ? 

DEN. I I don't know. 

BILL. You are not speaking the truth. Where is my father? 

DEN. Your mother was going to leave him they had a quarrel and 

BILL. [Half screams] Answer me. Did my father do this ? 

DEN. Your father! Your father? [Realizing that he is the boy's father] 
Your father yes ! 

BILL. [Strong, but not loud] I do not believe it. 

DEN. As God is my judge, I speak the truth. 

BILL. My father shall be found. From his lips I will learn the truth. 

DEN. But you have no time for this. Do you realize that you are an out- 
law? You have robbed your father's safe. Who will believe you did not kill 
your mother in an attempt to escape? 

BILL. You scoundrel! 

DEN. I know you are innocent, but will the law believe it, too? 
Make good your escape and leave me to find your father. I will take good 
charge of these. [Stoops for papers Bill has dropped] 

BILL. [TaJ^es pistol from table] Drop those papers. [Denver docs so] My 
mind is dazed by this calamity. But one thing I know, the guilty shall be 
made to suffer. It shall be the one object of my life. [Kneels before Mary] 



BILLY THE KID 217 

Mother, if you can hear me from above, record my oath of vengeance. And 
you [To Denver] You who have plotted my destruction shall live to hear 
the outlaw you have created. Go, and leave me with my dead. [Falls over 
body of Mary] Mother! Mother! [Denver slinks of LUE.] 

ACT II. 

TIME: Three years later. SCENE: Interior of the Broken Heart Saloon and 
dance hall. Low-roofed, rough interior. Bar R. Two tables and several chairs 
L. Entrance to dance hall in L. jog. Exterior door C. Small door behind bar. 
Door to dance hall is covered by long curtain. Oil lamp on bar; three more in 
bracket on the walls. All lighted. Reward notice pasted on R. of door. DIS- 
COVERED: Han\ behind bar, cleaning glasses. Peanut leaning against bar. Bud 
at table with three rough-looking cowboys, playing cards. An old piano is 
heard in the dance hall, together with the shuffling of feet. 

BUD. Did I tell y'u about butting into Red Mike yest'day? 

PEA. Some-a de boys tella me something about. 

BUD. Mike used to be a bb-ba-ad man. But he got made a dep'ty sheriff 
and that spiled him. Got proud. Me an' him used ter sorter sidle sideways o' 
one another, both hearin' a bit that t'other was handy with his gun. But 
when he got made dep'ty his pride swallered his caution. 

PEA. What was de trouble all about? 

BUD. Just nuthin' at all I went into Pete's place as meek as a kitten. Some- 
body says as how Red Mike had give it out that no one was to do any shoot- 
ing in town but him. I allowed he couldn't make his bluff good. He hap- 
pened to be there, so he pulled and I dropped him. 

PEA. What-a de people do ? 

BUD. Offered me his job. [All laugh] Mike lost his nerve. It's all up wid 
a bad man when he once loses his nerve. Then a kid can make him take 
water. 

PEA. And you never lost your nerve? 

BUD. Not much. I ain't afraid of man, devil or the world to come, but 
'spose my time will come with the rest. Until it does, I'm going to be a terror 
to these ba-a-ad men. 

PEA, Why you no-a go after dis-a one? [Points to reward circular} Den 
dere be a five thousand dollars for you. 

BUD. [Turning] Who's that? [Peanut goes up. Con enters C., goes to 
bar] 



218 WALTER WOODS 

PEA. [Reading] Five t'ousand dollars reward for de capture, dead or alive, 
of one, William Wright, better known as Billy, the Kid. Age eighteen, height 
five feet t'ree inches, weight one hundred and twenty pounds 

BUD. Why, a baby. 

PEA. light hair, blue eyes, even features. 

BUD. A baby gal. 

PEA. Is the leader of the worst band of desperadoes the Territory has ever 
had to deal with. 

BUD. Fairy tales. 

PEA. De above reward will be paid for his capture, or for positive proof of 
his death. [Con has been interested; Peanut turns to Bud] Dere, what-a you 
tink of dat? 

BUD. Nuthing. 

PEA. Why you no getta him? 

BUD. [Rise] Why, Peanut, I wouldn't waste no good powder on that 
youngster. If I had taken that job as dep'ty, I'd just land de kid an' give de 
coin ter charity. 'Cause it would be just like findin' it. 

PEA. Dey say he vera badaman. Dey say he kill in fair fight, as many 
men as he has years on his shoulders. 

BUD. De kid is a bluff, I tell you. 

PEA. Man tole me yesterday de government he send from Washington a 
Secret Service man to capture Billy. Man go to Billy, say, "I a-want to joina-a 
your band." Bill he say, "Where you come from?" Man says, "Me work at 
Hick's ranch." Bill tell him to hole out his hands; man does. Dey are soft and 
white, not like a cowpuncher's. So Billy shoot him dead. 

BUD. Peanut, if ever that kid comes in here while I'm here, I'll make a 
monkey out of him! I'll show you how bad he is. 

CON. Sure, it's not fer me to be telling ye yer business; only this when 
you come to mix it wid him, don't be sorry fer him on account of his youth! 

PEA. Do you know-a him? 

CON. Know him? I trotted him on me knee when he were a baby. I've 
watched him grow up into a fine, strapping boy, wid his head full o' nonsense 
about pirates and ransoms and things. Then I see him receive a shock that 
turned him into a man, fearless, reckless and brave. 

BUD. And did he do all them things they tell about? 

CON. Most o* them stories be lies. 

BUD. That's what I thought. De kid is a bluff. 

CON. Does that look like it? [Points to circular] 

BUD. Well, just let me see him, that's all I ask. Just show him to me. 



BILLY THE KID 219 

CON. Don't worry. You'll see him some time; and it's meself that's think- 
ing ye will take a fancy to the lad [Sotto voce] if ye live. [Bud goes to table] 

MOLLY. [Enters from dance hall} Who wants to dance? Well don't all 
speak at once. 

CON. Sure if we did, you'd have a picnic instead of a partner. 

MOLLY. Well, speak for yourself, Irish. 

CON. It's a bright girl ye are, to discover me ancestry. Well, I'll admit it, 
I am Irish but I don't dance. 

MOLLY. You can buy a drink, can't you? 

CON. I have the power and I have the price but not the inclination. 

MOLLY. You're a cheap skate. 

CON. And while I'm about it, I may as well tell ye that I prefer to choose 
me own associates present company not excepted. 

BUD. D'ye mean that for an insult to me? 

CON. No, sor, I don't. When I want to insult you I'll make it so plain ye 
won't have to ask who I mean. [Turns to bar] 

BUD. [Reaching for pistol] That's an insult. 

PEA. Hold on, Bud, dat only Irish wit. 

BUD. Well, he don't want to get fresh around here. [ Con fills glass] 

DEN. [Enters door in -flat, hurriedly] Hello, boys. [Goes to bar, down 
stage] 

ALL. Hello boss, etc. 

DEN. Whiskey. [Han\ sets bottle and glass before him, then goes to table 
to watch the game. Con is about to drin\ when Denver turns and sees him. 
Denver, in fright, stares at Con] 

CON. For the love of Heaven, turn your head. I never see a man so fond 
of watching me drink as you are. 

DEN. Youhere? 

CON. Great guns! Can't you see I am? Sure, ye have eyes enough. 

DEN. Where is the boy? 

CON. None of yer dom business. Glad ye found out? [Denver turns to bar 
and gulps down drinl(\ Now ye are getting sensible. Keep yer face at same 
angle 'til I get mine. [Drinks] 

MOLLY. [Comes down] Hello, boss. Why what's the matter, you're white 
as a sheet? 

DEN. Don't bother me. [Crosses to C] 

MOLLY. [Laughing] Hey, boys, the boss has seen a ghost. 

DEN. [Aside] Yes, the ghost of my past misdeeds. The ghost of coming 
retribution. [To table] Peanut, do you know that man at the bar? 

PEA. Yes, dat Con Hanley. He came here two three times before. 



220 WALTER WOODS 

BUD. If he makes a move at me yes. [Bud is seated behind table. Peanut 
at the R. Denver stands beside him. Jennie enters from dance hall, goes C. 
sullen and downcast] 

MOLLY. Gee, here's Miss Innocence. What are you doing in the barroom, 
going to come to the drink after all ? 

PEA. What you want here? Get back in the dance hall. [Pause] Well, do 
you hear! 

JEN. Yes. 

PEA. Why don't you obey den? Are you-a going? 

JEN. No. 

PEA. What! Why not? 

JEN. Because I am sick of it life, most of all. 

PEA. [Rise] I'll take dat-a out of you. 

DEN. Hold on a minute, Peanut, [To Jennie] Now then, what's the matter 
with you? [Pause f sneeringly] Haven't you had all the place affords and 
money? 

JEN. [Passionately] Money! Was it money that lured me to this dive? No, 
it was you. Did I pledge my honor for money? No, for you. Did you keep 
your promise to make me your wife? No. You liar and deceiver! 

DEN. You infernal cat. [Slaps her in jace, she reels. Con catches her] 

,CoN. [In anger] Strike a woman? [Threatening] 

DEN. Bud, drop him. [Bud pulls pistol] 

CON. [Holds out hand to Bud] No need of that; I'm unarmed. Besides 
ye are six to one. I'll swallow me tongue and keep me own council. But, Mr. 
Denver, some day you and me will meet on an equal footing, then I'll kick 
the livin' daylights out of you. Come, me girl, brace up and forget it. Come 
into the hall wid me. [Both cross] 

JEN. [Crying] If I could only die. [Both exit to hall] 

MOLLY. For Heaven's sake, somebody let the girl die. 

DEN. [Angry] Why the devil didn't you drop him? 

BUB. Why the poor fellow wasn't even armed. 

DEN. [Crosses to bar] What difference did that make? You are getting 
chicken-hearted. 

BUD. Chicken-hearted? I'm in fer a scrap at all times even or odd, but I 
gives every man a chance for his white alley. [Rises] Now if you think I'm 
chicken-hearted, I'll give you a chance to prove it. 

PEA. [Rises] Hold on, Bud. [Men rise] 

DEN. [Frightened] I did not mean it, Bud. Truly I did not, I was angry 
at that Irish lunk-head and forgot myself. Come and have a drink. We won't 
quarrel. 



BILLY THE KID 221 

PEA. He alia right, Bud. Put up-a de gun. 

DEN. Come on, boys. Come, Moll everybody take one on me. [All go 
to bar. Denver down stage Molly next, then Bud, Peanut and others at bacJ(\ 

BUD. We'll let it go this time, Denver, but don't get flossy with me again. 

MOLLY. Gee! I thought something was doing that time and it all petered 
out in talk. 

DEN. Set out the good bottle. \Han\ sets out bottle and glasses. General 
conversation ad lib while they fill glasses] 

MOLLY [To Denver] Here's to the girl you would like to see most of all 
tonight. 

DEN. Ill drink to that with a vengeance. [All drinJ^, Bud, Peanut and 
Denver go bac\ to table] 

MOLLY. Gee whiz! You must love her. 

DEN. I hate her. 

MOLLY. Then what do you want to see her for? 

DEN. To get even. I spoke to her one day, three years ago; she struck me 
in the face. Less than a year ago I met her while she was riding her pony. I 
apologized for my rudeness on the former occasion and she cut me with her 
riding whip. I carried the mark for many a day; and the longer it remained 
the stronger grew my hatred. 

MOLLY. Gee, she must be a dandy. Wish we had a few spunky ones like 
that around here. 

DEN. Well> this place would soon take the spunk out of them. 

CON. [Enters from hall, singing "Some day ye may be President or a gineral 
in th f army" Goes to bar, pushes Denver to one side] Don't block up the bar 
when ye see a customer coming! [Denver goes C. very angry f doubles fist as 
though about to stride Con. Con win\s broadly at him and laughs] 

HANK. What'll ye have? 

CON. A glass of water. 

HANK. Water ? What for ? 

CON. To drink. Did ye think I wanted to go in swimming? [Hanf^ gives 
him a glass of water. Con ta^es it and starts L.] 

DEN. I remember your insolence of three years ago 

CON. Well, forget it. [Exits to hall] 

MOLLY. I believe that's the ghost you saw awhile ago, boss. 

DEN. Have another drink? 

MOLLY. To the same girl? [Crosses to the bar] 

DEN. Yes. [They fill glasses. Enter Mose, C., followed by Nell] 

MOSE. Halt. [Salutes] Who's in command here? 

PEA. I run-a dis place. 



222 WALTER WOODS 

MOSE. Well, sir, we need assistance. The darkness overtaking us while in 
the hills, we lost our way. If you have a guide that can conduct us to 
Bradley's Place, he will be well paid. [Denver turns at the mention of Brad- 
ley's and sees Nellie] 

DEN. [Aside] God! It is she! 

PEA. De night's very bad and de way is long and difficult. But maybe I 
find you a guide. 

DEN. By no means. These are friends of mine and I could not let them 
run the risk of getting lost. They shall remain here tonight. 

MOSE. Impossible. [To Peanut] Will you get us the guide? 

DEN. Never mind the guide, Peanut. They shall remain here tonight. I 
am sure it will be agreeable to dearNtlHe. [Denver sneeringly ta^es off hat] 

NEL. At our last meeting I gave you a striking proof of my regard for 
you. Do not compel me to repeat that disgraceful scene. 

MOLLY. Gee! Here's the girl that licked the boss. 

DEN. The scene, if repeated, will not be so onesided this time. 

PEA. She very fin-a girl. Me like to have her here. 

NEL. What a horrible place this is. Come, Mose, let us leave here at once. 
[They turn] 

DEN. Boys, guard the door. [Two men spring to C. door] Do not, I beg of 
you, leave us so suddenly. [All laugh] The dance, the wine, all the pleasure 
the establishment affords, are at your disposal. 

MOSE. You scoundrel. Open that door at once or I'll [Comes down, 
raises cane to stride Denver. Bud fyiocfy him down] 

NEL. You scoundrel. To strike an old man! [Kneels beside Mose] 

BUD. If he hadn't been an old man, I'd have put a bullet in him. 

NEL. [Rise] You contemptible cur. A paid assassin for that coward. 
[Points to Denver. Enter Jennie from hall] 

BUD. Wha-a-t? [Raises fist to stride her. Jennie runs between them] 

JEN. Strike me, Bud, I'm more used to it than she. 

BUD. Git out of the way. [Throws Jennie violently against table; raises 
fist again] 

DEN. [Steps between them} Hold on, Bud, 

BUD. What the devil have you got to do with it? 

DEN. She's mine. Oh, she shall be humiliated. But let me do it 

JEN. [Struggles to her feet] You shall not do it, Boyd Denver. I've seen 
enough suffering here I've suffered enough myself and I won't let you add 
another victim to your list, 

DEN. Indeed? And what can you do? 



BILLY THE KID 223 

JEN. I will inform Con Hanley, he is in the dance hall. [Starts; Peanut 
grabs her, places hand over her mouth, drags her across stage] 

DEN. Put her in the dark room, Peanut, until she gets some sense. Bud, 
watch the door, rope the Irishman if he attempts to enter. Hank, drag the 
old man behind the bar. [They suit action to his words. Jennie is thrown in 
door behind bar. Bud goes L. Han\ drags Mose behind bar. Men at door 
seize Nellie and drag her down stage and put her in chair] 

NEL. You shall pay for this outrage, with your miserable lives, every one. 

PEA. If she-a going to squeal. [He threatens her] 

DEN. [Holds up hand] Don't worry, Peanut. Now for the festivities first. 
A drink, to put the lady in good humor. Hank, bring me a cup of brandy. 
The lady may not like it; she may even refuse to drink with us. In that case, 
we will force it down her throat. \Han\ brings Denver tin cup] Will you 
drink with us willingly, my dear ? [He is holding cup in right hand. Nellie, 
still held by the men, suddenly fycfe cup, throwing the contents in Denver's 
face] 

NEL. That is my answer. [All laugh] 

MOLLY. Gee! Can't she kick, though? 

DEN. [Very angry] Laugh! That's right. The joke is on me this time, but 
the second portion of the entertainment cannot fail. Now, which of you 
gentlemen would like the first kiss from these fair lips? 

ALL. Me I would etc. 

DEN. One moment. As we seem unanimous on the subject, let us auction 
off the privilege. We will bid for the first kiss. Moll, you be auctioneer. 

MOLLY. Here's a lark. [Mounts chair] Now then, gents, here's a prize. A 
kiss from pretty lips, unsullied by contact with coarse moustaches, such as 
yours. How much am I bid 

PEA. I bid ten cents. [All laugh; Nellie hangs head in shame] 

MOLLY. Bid's too low; can't accept it. Come, come, gentlemen, bid up, 
bid up. 

BUD. A dollar. 

HANK. Two dollars. 

MOLLY. Two dollars, two, do I hear any more. Who will make it three 
anybody? Two, two 

DEN. Five dollars. 

MOLLY. Now we are coming on. Five, five, who will make it ten? Going 
cheap, gentlemen. Five five do I hear any more? Five once five twice 

JEN. [Bursting through door R] I bid ten dollars. 

DEN. You meddling brat. Get back in that room. [He starts for her] 



224 WALTER WOODS 

JEN. [Behind bar, pic^s up bottle] Don't come near me, Boyd, or 111 
brain you. 

DEN. [Turns to others] My bid stands. She's not in this anyway. 

MOLLY. Why not? She's got the money and her bid goes, eh, boys? 

BOYS. Yes certainly etc. 

MOLLY. The bid stands, according to the jury. Ten dollars, I'm bid. Ten 
dollars I'm bid ten ten 

DEN. Twenty-five, [Jennie is about to bid when Peanut claps hand over 
her mouth and forces her under bar] 

MOLLY. Twenty-five a good bid any more? [All sha\e heads] Where's 
Jennie? Twenty-five once twice three times and sold. The first kiss to 
Boyd Denver. [Gets down] 

DEN. Here's your money. [Gives Molly roll of bills] Now for the reward! 
[Bill enters door C.; all watching Denver, do not see him. Denver ap- 
proaches Nellie with a laugh, as he stoops to tyss her, he glances up and sees 
Bill. Starts, recoils and begins to wal^ backward] 

MOLLY. Well, why don't you go ahead? You've paid enough for the 
privilege. 

BILL. What's going on here? [All turn. Men release Nellie who staggers 
up stage and sin\s on chair R. Mose drags himself from behind bar and goes 
to her. Han\ has released Jennie and both stand behind her looking at Bill] 
Answer, some of you, what is the meaning of this? 

PEA. A little sport. Just a little auction. 

BILL. Well, stop it. 

BUD. What? 

BILL. Stop it. 

BUD. Who says stop it? 

BILL. I do. 

BUD. And who are you? 

BILL. Billy, the Kid. [All these speeches are very quiet on Bill's part] 

BUD. Oh, you are, eh? Well, I've been looking for you. 

BILL. That so? 

BUD. Yes, it's so. You've heard about me, all right. I do nothin' but eat up 
ba-a-ad men and bad kids, too. See that gun? Each of those notches stands 
for a bad man what ain't no more. That new one is for Red Mike planted 
yest'day. And there's room on there for a dandy, stuck up chap about your 
size. I'm Bud Monroe. 

BILL. Never heard of you before. How are you? \TaJ(es Bud's hand. Bud 
astonished] 



BILLY THE KID 225 

BUD. How am I? How am I? Why, Fm in the pink of condition, I am. 
Ready to have it out with anybody. 

BILL. [Wiping his hand with his handkerchief] Why don't you wash 
your hands? They are filthy. 

BUD. What! Do you mean that fer an insult? [Hand on gun] If you do 

BILL. For Heaven's sake, don't talk so loud. I am not a thousand miles 
away. Lend me your hat a minute. [Takes End's hat from his head] The 
roads are very dusty. [Dusts boots with hat] 

BUD. [Astounded] Here- you [Plucks at Bill's sleeve] 

BILL. Take your hand away. I told you they were filthy. Take them 
away. [Loo\s steadily at Bud. He removes hands, still astonished. Bill finishes 
dusting his boots; when through throws hat on floor] 

BUD. Draw quick [Reaches for pistol. Bill's hand goes like lightning to 
Bud's side. Grabs his hand containing pistol as Bud draws it] 

BILL. What are you reaching so often for? [Takes pistol from Bud] Oh, 
a Colt. An old out-of-date pattern too. Ask Mr. Denver he is a judge of 
firearms. 

BUD. Gimme my gun. [Plucks at Bill's sleeve'] 

BILL. [Whacks his fingers with pistol] I told you to keep your hands off 
me. [Goes to bar, tosses pistol on bar] Here, bartender, give us a drink on 
the great Bud Monroe's shooting iron. [During this scene everybody has 
remained motionless as though expecting something to happen. Now the 
strain is relaxed t all take in long breaths of surprise and saunter to the bar, 
except Bud who remains motionless and Denver who crosses to Bud] 

MOLLY. Gee! Ain't he the winner, though? [General conversation as 
glasses are filled. Denver talks to Bud in dumb show, draws knife and offers ' 
it to Bud. The latter shades his head. Denver in anger sneaks up behind Bill 
who is at bar with his bac\ turned. When he is within striding distance, 
Denver raises %nife. Bill wheels suddenly and faces him. Denver tries to con- 
ceal knife and gently drops his arm. Bill catches hand as it descends] 

BILL. Why, hello, Denver. Come up to shake hands, eh? [Shading] I had 
no chance to do it before. What's that? A knife? Bad place to carry it, Den- 
ver, you might cut someone. [Takes knife from him and tosses it across room] 

DEN. I thought you might have trouble with Bud, so I slipped it up 
my sleeve to have it handy, in case I could be of service to you. 

BILL. Very kind of you, I am sure. Come, get in line, there's a drink 
coming to you. [Denver lines up to bar. Bill on the end, down stage. Bud 
has worked himself into a fury, crosses to Bill and slaps him on back] 

BUD. Look-a here, me young sport 

BILL, [Wheels suddenly] Well what is it? [Sharp] 



226 WALTER WOODS 

BUD, [Wilts] Why whydon't I get no drink? 

BILL. To be sure. Edge along, boys, and give the mighty Bud Monroe 
room. [All drin^ and tall( ad lib. Jennie leans over bar and whispers to Bill] 

JEN. For God's sake, get her away from here if you can. [Bill nods] 

CON. [Enters from hall] Well, if there ain't Billy. The top of the evening 
to ye, Billy. 

BILLY. Con, you are just in time. I want you to safely conduct Miss 
Bradley and Mose to their home. 

CON. Ill do it wid pleasure. 

PEA. [Has crossed bacl^ to Bill; is on his L] Hold on. I have something 
to say to that. 

BILL. [Beside him] Well? [Han\ sneaks up close to Bill's right] 

PEA. Dat-a a lady no-a leave here tonight. 

BILL. She will leave this place in one minute. 

PEA. I no permit it. [Angry] 

BILL. How can you prevent it? 

PEA. [Draws fyiife] 111 show you. Strife Hank. [Both spring at Bill at 
the same time. He l(nocl(s Hanl( down, grabs Peanut by hair with left hand, 
forces him over table and, with right, taJ(es %nife away, holding it at his 
Peanut's throat. NOTE: This action must be life lightning] 

BILL. I could kill you before you could raise an eyelash. 

PEA. Mercy mercy! 

BILL. I am not in the habit of having my will disputed, don't you try it 
again. [Throws Peanut to floor; tosses his %nife after him] Now, Con, we 
are ready. [Con goes to C. door, Mose follows. Nellie starts, then turns] 

NEL. God bless you, Billy; you have saved me. 

BILL. Thank Heaven I arrived in time. 

NEL. You will come with us ? 

BILL. No. I remain here. 

NEL. But these men, they will kill you. 

BILL. It is because I prefer death, I suppose, that my miserable life is 
spared. 
NEL. Oh, Billy, is there no turning back? 

BILL. None. Good-night. [Tafes her hand, pisses it. She exits C. followed 
by Mose and Con] Could my life be rolled backward but three short years! 
[Leans against door] Could the weight of blood and crime be lifted from my 
guilty soul, what happiness might await me there. Oh, I must not think of 
her not here not here. [With an effort he rouses himself] Came, my girl 
[To Jennie] We will dance; why it seems ages since I have had a dance. You 
shall be wined and dined to your heart's content tonight Come! [Tafos fen- 



BILLY THE KID 227 

nie's arm and they exit to hall. For a second after their exit no one moves. Bud 
and Denver are still at bar. Hanl^ behind it, bathing his eye, Peanut is grovel- 
ling on the floor where he has fallen. Three men are at bac\ R. talking] 

DEN. [Rousing himself and going to reward circular} Well, are you all 
hypnotized*? Or is money so plentiful that $5,000 grows on every bush? [Taps 
circular. Peanut rises} 

BUD. I don't need the money. That fellow is a ba-a-ad man. 

DEN. Are you all afraid? 

PEA. [Feels necf(\ Well-a are you? 

DEN. Of course not. But I have all the money I require. [Peanut laughs] 
Here, there are six of you. I'll give you two hundred dollars apiece if you 
will wipe him out. The reward you may divide to suit yourselves. 

BUD. Now if I had only taken that dep'ty job 

DEN. [Hurriedly] He is now in the dance hall. There's a little door at the 
other end behind the piano. Go out this door. [Indicates door C.] Slip 
around and in the other. Get down behind the piano; when he passes, nail 
him. Don't be afraid of hurting Jen, she's outlived her usefulness, anyway. 
You can't fail. Surely there is one shot among you. 

BUD. One shot? Give me my gun, Hank. [Tafes it] What do ye say, boys ? 

ALL. We'll do it yes etc. 

PEA. You come-a too, Boyd? 

DEN. No-o, I'll watch the bar. 

BUD. Ha-ha chicken-heart. Come on, boys. [They exit C.] 

DEN. {Goes to door, loo^s after them] They cannot fail. At last I shall be 
rid of him. How I fear him how I fear him. My own son son? Bah! I wish 
he had been throttled in infancy. [Comes down] There is the Wright place 
going to ruin he cannot claim it, being an outlaw. I dare not claim it while 
he lives. What's that? The back door closing. They must be in position by 
this time. I must see the sport. From this doorway I shall see the end of Billy, 
the Kid. [Goes L.to curtain, pulls it aside. Bill is standing in doorway. Denver 
starts bacf( in terror. Bill enters] 

BILL. I thought I would find you alone. Kind of you to send the others 
away. Be seated. [Denver drops in chair R. of table. He seems stunned. Bill 
sits L] I sought you out tonight, because you were a witness, three years ago 
of my oath to find my father. 

DEN. [In whisper] Yes. 

BILL. Well I have found him. 

DEN. [Aside] Caught. He knows me. 

BILL. I had another object in wishing a private interview with you. To 
restore you a lost and valuable article. [Throws pistol on table, Denver sees 



228 WALTER WOODS 

it, shades with terror and clutches the table] A double-acting, shell-extracting, 
self-cocking revolver. We found it at the bottom of the old well. It is not in 
very good condition now, being rusted and choked with sand. Three loaded 
shells remain in the chambers, two have been fired. When you have a moment 
to spare, see how this bullet compares with the ones still remaining in your 
revolver. [Throws bullet on table. Denver pic^s it up] It was taken from my 
mother's breast. [Denver drops it. Bill lights cigarette. Denver grabs pistol, 
points it at Bill and tries to pull trigger. It will not wor\. He drops it in de- 
spair. Bill does not move or show the least concern when Denver pic\s up 
pistol. Continues to light cigarette} 

DEN. [As he drops pistol] The devil aids you. 

BILL. I told you it was out of order; a little oil will fix that, then you can 
try again. 

DEN. [In husfy voice] What what do you want me to do? 

BILL. Follow me until I am ready for the hour! Heaven has appointed me 
your executioner but the hour has not arrived. From now until your death 
you shall never leave my side. 

DEN. Give me a chance only a chance to prove my innocence. 

BILL. You shall have sufficient opportunity. We will stand beside my 
mother's grave and you will tell me the truth. [Rises] We had best start before 
the others return. Bring that pretty revolver; I will need it. Come. [Goes up 
to C. door. Denver takes revolver, struggles to his feet] 

DEN. No no I cannot will not go. 

BILL. Will not? You shall go with me though the whole world tried to 
stop you. [Draws two pistols. Bud, followed by others, enters from hall. They 
scatter across stage during the following dialogue. Bud extreme R. f Peanut 
next, three men C. 7 Denver JL, Hanf( R. of Denver] 

BUD. He ain't there. 

PEA. Where he-a go? 

DEN. ]T^hrowing table on tnd and getting behind it] There! There! At 
the door! Shoot! [General fusillade of shots. Lights are shot out, leaving the 
stage in total darkness save the -flashes from the pistols* Some twenty shots 
fired in all and from small caliber pistols so that the noise will not be startling. 
Suddenly firing ceases; silence and darkness for a second] 

DEN. [In a shafty voice} Billy Billy are you there? [Pause] He is dead! 
Bud! 

BUD. Hello is that you> Denver ? 

DEN. Yes, strike a light light up everything for Billy, the Kid, is dead. 
[While speaking he arises from behind table. Bud has risen from behind table 



BILLY THE KID 229 

after lighting candle. As lights go up Peanut is discovered lying C., Han\ L. 
Three men lying at the feet of Billy, who is standing C. a pistol in each hand] 
BILL. Come, Denver yougo with me. [Denver sneaks out of door C. f 
Bill follows. Bud still standing behind bar holding candle as curtain falls] 

ACT III. 

TIME : One wee\ later. SCENE : Colonel Bradley' s dining room. Large window. 
Breakaway opening to floor C. Old flag draped L. of window. Closet door 
La., small table beside it. Exterior door L.U. Door R.j. Long table R.C. set 
for seven people. Tablecloth long enough to touch floor on sides f but short, so 
audience can see under in front. Small table L. of C. window. Chairs, etc. 
Canary in cage, up L. DISCOVERED: Nellie and Jennie putting table in order. 

JEN. [Finishing story~\ And then the lights were shot out. All was in dark- 
ness and the stillness of death prevailed. Suddenly somebody lighted a candle 
and there stood Billy, without so much as a scratch on him. Oh! It was 
wonderful. 

NEL. Wonderful indeed! 

JEN. That was my opportunity to escape. I couldn't stay there, miss, so I 
slipped away. Yours was the first kind, honest face I had seen in my two 
months' imprisonment in that awful den, and I wanted to come and tell you 
I had made up my mind to start all over again. I never expected you to offer 
me the place of maid, miss. 

NEL. Let us say no more about it. Stick to your resolution to do right, and 
this funny old world, that trampled you under foot yesterday, will receive 
you with open arms today. 

JEN. Do you think there is any hope for me? But, there, I don't need to 
ask that question. Your actions have shown that you do. [With a desire to 
change conversation] Was it not kind of your uncle to hold this little recep- 
tion in honor of Billy's gallantry in saving you? 

NEL. Not hah what he deserves, Jennie. Oh, it was so noble of him! 

JEN. You love him, miss? 

NEL. Nonsense, Jennie, I only 

JEN. We, who have had our affections worn smooth by hard contact with 
the sharp edges of the world, have quick eyes for the flash of love, the ready 
blush, the catching of the breath at the sound of a name things that we have 
forever lost. 



2 3 o WALTER WOODS 

NEL. You are mistaken, Jennie; at least in thinking that I care for him. It 
it is impossible. He is an outlaw. Why, he and I could not be further apart 
if one of us were dead. 

JEN. Perhaps he might reform. 

NEL. It would make no difference. In this cold, hard world, when once 
one has fallen, all the angels in Heaven could not place him right again in the 
eyes of his fellow men. 

JEN. [Crying] There is no hope, then, for me. 

NEL. Forgive me, Jennie. It was thoughtless and cruel of me. [Arms about 
her] There, there, don't cry. We will make you the exception that proves the 
rule. [They embrace] 

MOSE. [Enter J?.j.] Attention! How dare you waste your time hugging 
one another? It's a waste of sweetness. You never saw two men hugging, did 
you? If you must hug somebody, hug me. 

NEL. You old sinner! I have hugged you nearly to death on several occa- 
sions and you offered absolutely no resistance. In fact, I really believe you 
enjoyed it. 

MOSE. Of course I did. A good soldier likes arms about him, don't he? 

NEL. Well, as you are so fond of feminine arms, I wonder you never mar- 
ried. 

MOSE. I did. That's why I became a soldier. 

NEL. Oh, tell me about her. Black hair? 

MOSE. Red. 

NEL. Blue eyes? 

MOSE. Yellow. 

NEL. Nonsense. Why, that would be 

MOSE. A cat. Honest, that's what she was. 

NEL. [Laughs] Then your matrimonial venture did not turn out well? 

MOSE. Oh, yes, it did. Turned me out. 

NEL. Honest, Mose? 

MOSE. True as I'm standing here, and all because the dearest, sweetest 
little widow 

NEL. Bother. Served you right! What became o your wife, Mose? 

MOSE. Dead. [Feels in pocket] Confound it! I always weep when I get to 
that point and I can't find my handkerchief. 

NEL. [Laughs] You are an old fraud but the best old fraud that ever lived, 
so Fll give you a hug. [Does so] 

MOSE. Bully. 

NEL. for the sake of your wife. 

MOSE. [Disgusted] Don't. [Nellie laughs; goes to table] 



BILLY THE KID 231 

COL. [Enters R.J] Oh, there you are, eh? [Mose stands at attention] Gos- 
siping like a schoolgirl, I'll bet. 

MOSE. Superintending the spreading of the feast, sir. 

COL. [Surveying things] Looks pretty well, eh? 

MOSE. I am very well satisfied, sir. 

COL. Oh you are, eh ? Well, I'm glad it pleases you. 

MOSE. [Peevishly] A body can't say a word but you must get sarcastic. 

COL. [Blustering] What what sir 

NEL. There, there. We'll have no quarrel today. Haven't time for it. 
Postpone it until tomorrow. 

MOSE. Now, Nellie, I'll leave it to you if I said anything- 

NEL. But you are doing a lot of it now. 

COL. Of course he is. If he couldn't keep that mouth of his ging 

NEL. Uncle! Will you change the subject. 

COL. [Growling] U-m-m! 

MOSE. [Growling] U-m-m-m! [They scowl at one another] 

NEL. Who have you invited, uncle? 

COL. All of Billy's friends that want to come. Don't know how many he 
will bring but I guess seven plates will be enough. Nellie, Billy and myself 
are three. Then there will be four plates for friends. In case the places are 
not filled, Jennie, you and Mose shall be of the party. 

JEN. Thank you, sir. [Exits with dish, jR.j.] 

MOSE. Well, I'll be one of the party anyway. Do you suppose I am going 
to give up my place to a lot of robbers ? 

COL. Attention! Billy is the son of my old friend, Steve Wright. Today 
he shall be treated as such. He and his friends are to be my guests and I don't 
need you or anybody else to tell me what is due a Southern gentleman's guest 
Today I shall forget the lawless boy and remember only the wild harum- 
scarum youngster I used to love. Tomorrow, Billy the Kid may go his way. I 
never want to see him again. 

NEL. Oh, uncle! 

COL. My child, our roads lie apart. Today we will overlook that fact. 
[Sighs; Nellie wipes her eyes] Mose! 

MOSE. Present, 

COL. Set the wine near the head of the table. [Mose does so] And, Mose 

MOSE. Countersign is correct, sir. 

COL. Remove that bird. Birdie won't need any duckweed today. 

MOSE. Yes, sir. [Ta^es cage and exits] 

NEL. What a tease you are. 



232 WALTER WOODS 

COL. Well, I know Billy is overly fond of dicky birds and I want to put 
temptation out of his way. 

NEL. Well, if you think an old excuse like that 

COL. There's one other thing, miss. Don't try to work off any extra cham- 
pagne cork-popping. I've got the bottles counted. [Mose enters with plate of 
cabbage salad] And I know every pop. [Nellie laughs] 

MOSE. It's a wise cork that knows its own pop. 

COL. [Laughs] Very good, Mose. [Nellie laughs and exits J?.j.] 

MOSE. [Tasting salad] And it's a wise cow that knows its own fodder. 

COL. [Sharply) Fingers out of the dish, Mose. You are not a cow. 

MOSE. [Indignant] No, sir, I'm not. Do you know what I am? 

COL. A a jackass? 

MOSE. Yes, sir, I am. I mean, no, sir, I'm not. But I ought to be after asso- 
ciating half my life with a mule. 

COL, What! Call me a mule? 

MOSE. No, sir, I don'tyou are a-a-a confounded old crank. 

COL. Insubordination! You shall be courtmartialled. 

MOSE. No, I won't. We are not on the battlefield now. I know my rights 
I am a free-born citizen and have a vote. 

COL. [Snorts] Vote! What good does that do you? You never voted. 

MOSE. I never got my price. 

COL. Nice citizen you. Talking about a price. 

MOSE. I know my business. I've got a say in the management of this 
household and I'm going to have my rights. 

COL. [Furious] Attention! 

MOSE. We're not on the field now. 

COL. No, confound you. If we were, I'd have you hamstrung. 

MOSE. Sit down there and listen to me. [Colonel sits, astonished] To be- 
gin with, Nellie don't like the tactics, therefore, she must be relieved from all 
duty henceforth. 

COL. You don't say so? 

MOSE. Then Nellie loves Billy, and you pretty near broke her heart when 
you told her she must never see him after today. That order must be revoked. 

COL. Must, eh? 

MOSE. Don't you call me musty. You're as old as I am. 

COL, [Rises] Damn, this has gone far enough, I am commander of this 
post, and I won't have any rebellion. No opposing forces shall mar my peace. 
You get out of here as fast as you can go. 
MOSE. [A little frightened] Get out! 



BILLY THE KID 233 

COL. Bag and baggage. I won't put up with your interference another 
minute. 

MOSE. [Blustering] Hm! Hm! You can't discharge me. I'm your orderly. 

COL. We're not on the battlefield now. You can go. 

MOSE. [ Voice trembles] Go ? Go where ? 

COL. To the devil for all I care. I've stood enough from you to try a 
saint. [Sits] 

MOSE. I ain't got no home but this, sir. 

COL. Well, get another. 

MOSE. [ Whimpering] I'm too old to start all over again. 

COL. You're a free-born citizen got a vote, you know. 

MOSE. Colonel, you ain't going to turn me out, are you? 

COL. Yes, I am, confound you, and don't you go snivelling around Nellie 
to be taken back. I won't have it. 

MOSE. [Firing] You never heard me snivelling at Andetam, did you? 

COL. We're not on the battlefield now. 

MOSE. No. If we were, I'd tell you to take your horse and go to thunder. 
Oh, I'll go. [Goes up] It won't take me long to pack. I ain't not nothing but 
my bugle. 

COL. Well, take it along. I'll be glad to get rid of it. You've nearly driven 
me crazy with your tooting, the last fifteen years. 

MOSE. I was going to give it to you, Colonel but I'll not trouble you 
any more. [ Wipes eyes on flag] Why here's the old flag. I'd like to take that, 
Colonel. 

COL. Well, take it along. 

MOSE. 'Member how at Antietam, the color-bearer was shot down and 
you grabbed up this same old flag? 

COL. Certainly. No soldier would let the colors trail in the dust. 

MOSE. How the boys cheered you as you led 'em along. Why, it just put 
new life in 'em. 

COL. Ah, they were a fine lot. 

MOSE. And then you were shot in the arm. I picked you and the flag up 
together and carried you back out of the firing. 

COL. That you did, Mose. A brave deed bullets zipping all around us 
men falling everywhere, 

MOSE. And then when the surgeon went to probe for the bullet ha, ha 
you said: "Drat your picture, stop it. It's the other arm that's my vaccina- 
tion" [Laughs] 

COL. [Laughing heartily] I remember, Mose, I remember. One on the 
doctor, eh? 



234 WALTER WOODS 

MOSE. More like one on you. You got the worst of it. 

COL. So I did. Ha, ha glorious times, Mose. 

MOSE. All over now, Colonel. We're both old, and I'm turned out. 
[Wipes eyes] 

COL. [Rises, goes to him] Mose, dear old friend, forgive me. [Holds out 
hand] This tent is yours as long as you will share it with me. [Mose shades, 
still wiping eyes] 

NEL. [Enters Rj.] Well! Are you two quarrelling again? I declare, that 
selfsame quarrel and reconciliation has occurred at least once a year, as far 
back as I can remember. 

COL. We need it, my dear, to strengthen old ties. And to serve as a re- 
minder that we are still comrades. [Pats Mose on back] But I think Mose 
an old friend. He -gets these quarrels up on purpose, knowing discipline will 
be relaxed for a week or two, so he can run the place to suit himself. 

MOSE. Don't you believe it, Miss Nellie. 

NEL. Of course I don't. Uncle is equally to blame. Well, everything is 
ready now. I hope they are on time. [Horse effect outside] There! Run and 
see who it is, Mose. 

MOSE. [Saluting] Once more the army is himself. [Exit L.U.E. Sounds of 
several horses stopping. "Whoa," "Bac\ Up" etc., outside] 

COL. Seems to be quite a lot of 'em. 

NEL. [Disappointed] I was in hopes he would come alone. 

COL. He knows his business best. Maybe it is not safe for him to travel 
alone. 

MOSE. [Enters announcing] Friends of Mr. Billy, the Kid. [Enter Bud fol- 
lowed by three plainsmen. All have revolvers in belt at bac\. Blue shirts, 
broad hats, boots, etc. As Bud enters, Nellie starts bac\ in alarm and watches 
them suspiciously] 

COL. Welcome, gentlemen, to this little feast given in honor of your noble 
comrade. [Shades with Bud} 

BUD. Thanks, Colonel, it's mighty kind o you all right all right, but he's 
deserving of it. He's one of the gamest men in this section. And b-a-a-a-d? 
Well I guess. Me an' him used to be kinder on the outs, but he licked me an' 
a few more in a fair fight. So I struck me colors and joined his forces an* 
I'm his'n for life. [Nettie seems to accept his explanation] This is Hank Burk, 
this is Bill Burnside and this is Bald Pete. Gcndcmcn, Colonel Bradley, one 
of the heroes of our last late war* 

COL. And gentlemen my niece, Miss Bradley. [They bow awkwardly] 
Now, sit down and have something while we are waiting for Billy. Mose, go 
out and keep watch for him. 



BILLY THE KID 235 

MOSE. [Aside, looking at Bud] If that ain't the man that knocked me 
down a week ago, I'm a marine. [Doubles up fists, loo\s at them and exits 
L.UE.] 

COL. Nellie, see how the dinner is coming on. [She exits R.j. Men in the 
meantime have seated themselves. Counting from downstage end of table 
Bud sits second chair R. Man third chair R. Man second chair L. The other 
third L. This leaves 'vacant, first chairs R. and L. and chair at head of table. 
Colonel sets two bottles of wine on table. General conversation while bottles 
are being opened] Now, gentlemen, help yourselves and I'll give you a toast. 
Wait I must get a julep for mine. Anybody else like one? 

BUD. This'll do us, Colonel. 

COL. Just excuse me for a second. [Exits R.J. Bud jumps up and runs to 
window, opening it] 

BUD. Come in, Peanut. [Peanut enters by window, head tied up where he 
has been wounded] Quick, under the table. [Peanut dives under the table, 
downstage, so audience can see him. He has two large revolvers in bac\ of his 
belt] If they see you they may get suspicious. 

PEA. Yes. De girl she a know a me quick. Don't you tink Billy will tumble 
when he sees you? 

BUD. Not a bit. I can square him all right all right. Say, Peanut, how did 
you tumble to this banquet racket? 

PEA. De fool boy dat a de Colonel send with de invitation to Billy come to 
my place. I read a de note and den sent it on to Bill. 

BUD. Think hell come all right ? 

PEA. Sure. He a sweet on the girl. 

BUD. Wait a minute. [Rises, goes up, gets bottle, places it on table by closet] 
When the wine is about all gone, I'll call Billy's attention to this bottle. And 
ask him to get it. When he turns his back, that's the signal to jump on him. 
[Resumes seat] You understand? 

MEN. Yes we understand, etc. 

BUD. Mind, we got the law on our side. I'm dep'ty now, so don't let the 
old Colonel bluff you. 

PEA. What! You tink de Colonel could bluff 

BUD. Shut up, he's here. [Kic\s him] 

PEA. O-o-o, dat my shin. 

BUD, Sh-h-h, 

COL. [Enters] Ah ha! Here is the real article. A genuine Southern mint 
julep. [He holds up glass] All filled up, gentlemen? 

PEA. All but a me. [Bud tycfa him] Ouch! 

COL. Eh? What's that? 



236 WALTER WOODS 

BUD. I just bumped my foot, Colonel. 

PEA. Well, don't bump it on a me. 

COL. Now for the toast. Here's to comrade Bill Wright. [All drinJ(\ And 
death to his enemies. [Colonel drinks. Bud chores and spits out liquor} 

PEA. Good-a joke. [Laughs. Bud \ic\s him] Sacre-damn. 

BUD. 'Scuse me for swearing, Colonel; it went down the wrong way. 

COL. Never mind, fill up and have another. 

BUD. Cut out the toast this time, Colonel. [Glasses filled; horse effects out- 
side] 

NEL. [Enter Rj] They're coming, uncle. ["Whoa" etc., outside] 

COL. Just hold the next round for a minute, gentlemen, and we'll have it 
together. [Goes up] 

BUD. [Low] Keep up your nerve, boys, he don't know any of you. 

PEA. Pass me a drink, to keep a up my a nerve. 

BUD. [KicJ(s him] Shut up. 

PEA. Wow! [Loud] 

NEL. [Turning] Why, what was that? 

BUD. My dog, miss, under the table. [Low, to Peanut] Growl, you Indian, 
growl. [Peanut growls] He's very cross, miss. 

PEA. Cross? He's a mad. You kicka me again and Fll bite. 

MOSE. [Enter L.UJE., announcing] Mr. Con Hanley, First Lieutenant to 
Captain Billy. [Enter Con. Colonel shades and motions him to seat. Con 
pauses at sight of the men] 

CON. My my. But it's choice society the Colonel do be keeping. [Sits first 
chair JR.] 

MOSE. Mr. Boyd Denver. A a gentleman. [Men all start and loo\ up] 

COL. [Astounded] What! 

NEL. That man here? [Enter Denver cowed and sneaking, slinks to 
table without raising hand or noticing anybody. Sin^s in chair at head of 
table, head drops in hands] 

MOSE. Captain William Wright Billy, the Kid. [Enter Bill, stops at sight 
of men at table. Hand goes swiftly to pistol; glances sharply at Colonel] 

BILL. Quite a gathering, I see. [Extends hand to Colonel] Colonel. 

COL. Sir, I did not think you would insult my little banquet, given in your 
honor, by inviting that man here. [Pointing to Denver] Still, I shall not re- 
fuse you my hand. [Shades] 

BILL. Colonel, some day I will explain. Now, I cannot. [Crosses to Nellie] 
Nellie [Holds out hand] 

NEL. [Ignoring it] Billy, how could you? [Tosses her head, turns and 
goes to door R.j. Breads down, cries and exits. Bill sighs and turns away, loo^s 



BILLY THE KID 237 

sharply at men again -fingering pistoL Men are uneasy. Bill with sudden de- 
termination removes belt and pistol, handing them to Colonel} 

BILL. Colonel, here are my only weapons. While your guest, I shall for- 
get my hostility towards society. 

COL. [Ta\es belt] May you enjoy yourself, Billy. But I cannot nor can I 
allow any of my householdto sit at die table with your friend. Come, Mose. 
[Exit Colonel and Mose R.$.] 

BILL. [Comes to first chair L.] Now, gentlemen, what's the game? 

BUD. Honest, Bill, there ain't none. The Colonel invited us to come. 
Asked me if I felt sore at you. I said "No, he licked me in a fair fight, and 
I takes me hat off to him." I'm square, Bill, and there's me hand on it. [Holds- 
out hand. Bill hesitates a moment, then takes hand] 

BILL. If you are not square, Bud Monroe, the hand you are holding now 
will help you into eternity. [Bud attempts to withdraw hand] Don't take it 
away, Bud. I like to feel the pressure of an honest hand, even if it does 
tremble like a girl's and is cold and clammy. Bah! [Throws hand away] 
What poor liars some of us are! 

BUD. [To cover his contusion] Come on, boys. Fill up, fill up and we'll 
drink to Bill's health. [All fill glasses but Denver] 

PEA. [Glancing from under table] He no gotta de pistol now. Why dey 
no jump on him? [Sees Con] Oh! De Con man have dem. 

BUD. Now boys [All raise glasses] Here's to the worthy Captain Bill. A 
b-a~a-d man, [All raise glasses to lips] And to the gentlemanly proprietor of 
the Broken Heart, Mr. Denver. [All drin\ but Bill and Con. Denver raises 
head, loo^s hopefully at Bud] 

BILL. [Aside] Drink to him? No. [Aloud] I ah think there is a fly in 
my glass. [Tosses contents under table; hits Peanut in face] 

CON. Billy, I believe there is an elephant in mine. [Dashes contents under 
table, hits Peanut. He sputters and turns around so his rear view is toward 
audience; his two pistols sticT^ out in plain view] 

BUD. Well, try some more. [Fills Bill and Con's glass, then attends to 
other end of table] 

BILL. [Looking at glass] This looks rather dark. [Goes to toss it under 
table f sees Peanut, motions Con. Both reach down and each slips a pistol from 
Peanut's belt. Action is very quicf(] Rather dark looking, eh, Con? 

CON. Looks kind o' black to me. [Bill slips pistol in his boot] 

BUD. Well, try some from this bottle. [Goes to pour] Why, it's empty. 
There's another bottle right behind you, Bill, will you get it? [Nellie enters 

R-3-] 



238 WALTER WOODS 

BILL. Certainly. [Bill rises, goes toward bottle on table L. Con has been 
eyeing the rear view of Peanut and contemplating his boot. As Bill's bacJ^ is 
turned, all men rise slowly] 

BUD. Now, boys. 

NEL. Look out, Bill. [Bill without looking around, dashes in closet and 
closes door. Two men L. reach it almost at the same time. Con, without see- 
ing the action of the others, has delivered an awful %ic\ to Peanut, just as 
Bud speaks. Bud and man R. grab Con and bind him. Peanut is fycfad from 
under table L. rushes to closet door, turns fay which was in the loc\ and puts 
it in his pocket. Denver is standing and watches the scene in a dazed fashion] 

PEA. Gooda! We-a gota him! 

CON. [Who is bound} Yes, and I gota one, too. 

PEA. Sacre! [Rubbing himself] I have-a not forgotten. 

CON. No? I think meself the sting of that kick will linger for some time 
on yer memory. 

PEA. Sacre! I geta even. 

BUD. Where does that door lead to? 

PEA. Nowhere. It is a blind closet. [Shows fay] He-a is our prisoner. 

DEN. [Huskily] Thank God, I am free. Give me some wine, I am chok- 
ing. Oh, you shall be well paid for this. Shake. [Shades hands all around; 
drinks] 

NEL. [At bac1(\ I must warn uncle. [Starts R.] 

PEA. Here, girl. [She stops] What a in data closet? 

NEL. [Comes down L. and speaks as Bill will hear] Nothing nothing 
but some dresses of my maid Polly. She will be here in a moment to serve you. 

PEA. No-a weapons in-a dere? 

NEL. None whatever. I will send my maid, Polly. [Starts] 

PEA. Stop! You stay a here. Let Polly come if she-a want to but I no-a have 
de house aroused by you. 

BUD. I'll just lock these doors' to keep anyone from butting in. [Locfa door 
R.j. and LJLJJE. Goes bac\ to table. The others have resumed places about 
table, all are drinking and laughing. Nellie stands L.C. watching them] 

PEA. Here-a girl. Give-a me dat bottle of wine. [Points to bottle on table 
L.} 

NEL. Yes, sir. [Gets bonle, comes to Peanut, pours him out drin^ with 
right hand, with left she steals fay out of his pocket] 

PEA. Data a gooda girl. You learn to obey easily. 

NEL. Yes, sir. [She returns bottle to table, quickly slipping fay in loc}(, 
unlocking door and taking fay out again] 



BILLY THE KID 239 

PEA. Here, here! Bring back data bottle, I no-a tella you to take him away. 

NEL. Yes, sir. [She brings bottle, pours drinJ^ for Peanut and slips \ey 
bac\ in his pocket, placing bottle on table. NOTE: Key business must be made 
very apparent to audience'] 

CON. [Who has been watching Nellie} Nellie, fer the love of Heavin' give 
me a drink, before I choke wid laughter. 

BUD. What you got to laugh about, cull? [Nellie goes up to window] 

CON. It's too fine a joke to penetrate that thick skull of yours. But one 
thing I'd like to ask ye; what right have ye to bind me up this way? 

BUD. I'm dep'ty sheriff, I am. [Shows badge} 

CON. Oh, ho, ye are? 

PEA. [Mocking} Ho, ho, yes he is. 

CON. Go on, ye pizen-faced pup. I didn't ask you. 

PEA. [In rage] I-a killa him. 

BUD. Hold on, Peanut. 

PEA. He-a kicka me. 

CON. That seems to hurt your feelings, dago. 

PEA. It-ah hurta my pride. 

CON. Well, never carry your pride in your pistol pocket. 

DEN. [Getting drunJ(\ Kill him kill them both. Oh, God! I could shout 
for joy at my deliverance. To be free again free! Listen, men, for seven days 
I have been dragged in mortal terror, from place to place, by that fiend in 
yonder tortured by the threat of approaching death, that increased my 
terror the longer it was delayed. I was given nothing but whiskey to drink 
in all that time whiskey until I was driven mad. When I begged for water, 
he said: "you filled me with whiskey and then tempted me to my first crime. 
Your path to the grave shall be a river of it." [Ta%es glass] Come, fill up 
fill up. This will be a glorious day. [All crowd around table and fill up. Bill 
slips from closet disguised as maid. Goes to door L.UJE. tries to open it, 
finds it locked] 

NEL. Oh, here is Polly. [All turn] 

PEA. How she-a get-a in? 

NEI<. Through the window. 

BUD. I'll just lock that, too. [Goes to window 9 loc\s it] 

NEL. Polly, will you serve the gentlemen? 

BILL. Wiz pleasure. [Goes to table; serves drinks. Mose appears outside 
window. Nellie up quicl(\ 

NEL. [Aside to Mose] Mose, can you hear? [Mose nods] Quick! Stampede 
all the horses but Billy's, bring his to this window. You understand? [Mose 



240 WALTER WOODS 

nods] When it is done, give me some signalsound your bugle. [Most nods 
and disappears] 

BUD. Here, you girl, don't try to get out that window. 

NEL. I am not trying to. [Bill has been busy filling glasses. All have seated 
themselves. Peanut first chair L. Bud R. Billy is beside Peanut] 

PEA. Oh, dat-a Polly a very pretty girl. [Pats Bill's cheet(\ 

BILL. Zank you, m'sieur, you are ver' ver' 'andsome. 

BUD. Ho ho. She's stuck on the dago. 

BILL. You 'ave such beautiful whiscaires. May I not 'ave a souvenier. 
[Pulls hair out of his beard] 

PEA. Ouch! Sacre! What you-a do? Dat-a hurt like blazes. [All laugh} 

BILL. I am ze sorry. [Puts arm around him] 

PEA. [Flattered] Dat-a all right. 

BILL. More wine, zentlemen? [Goes to Bud. TaJ^es pistol from his belt] 
O-o-o! What a terr'ble big pistol. 'Ow do he work? 

BUD. Well, pretty, I'll show yer. Pull the trigger an' somebody's dead, see? 

BILL. Pull ze trigaire, an* somebody dead, oui? \Points it at Peanut] Bang. 

PEA. Hold-a on. Don'-a you practise on me. [Bill laughs} 

BUD. Pull the catch and out come the cartridges, see? 

BILL. [Empties cartridges] Magnificent! Let me put zem back, eh? 

BUD. Go ahead. 

BILL. Zere is one two three four five, all in. [Lets audience see he 
does not replace cartridges. Places revolver bac\ in Bud's belt] Zere! Now I 
have fixed you plenty. [Tosses shells away] 

NEL. [At window] Oh, why don't Mose blow the signal? 

DEN. Here, girl, give me some wine wine. 

BILL. Ze zentleman want wine? *E shall 'ave it. Plenty plenty, rivers of 
it. [Goes behind Denver's chair] 

DEN. [Glancing up uneasily] What did you say about rivers? 

BILL. Ze river of wine, in which to drown your sorrow. 

NEL. [Down, aside to Bill] When you hear a bugle call, be prepared to 
escape. [Bill nods] 

DEN. Good girl! Glorious wine. Oh this is a happy day* 

BILL. Be 'appy today, m'sieur, for tomorrow you may be dead. 

DEN. What do you mean? 

BILL. Zat is an old quotation from my country, Zat is all. [Goes to man, 
L.] Have wine? [Steals his pistol, pulls up sJ^irt and puts it in boot] 

NEL. [At window] No signal yet 

PEA. Come here, Polly. 



BILLY THE KID 241 

BILL. O-oo I am forgetting my dear 'andsome man. [Goes to him} Such 
a beautiful beard. Can you not spare me one little [Pulls hair out of his 
beard} 

PEA. Oh! Hella! Diable! What you a do? [All laugh. All getting rather 
mellow} 

BILL. I 'ave ze two hair, soon I have 'nough for ze watch chain. 

PEA. Not-a out of my a whiskers. [Nurses his face. Bill has gone to man 
R. steals his revolver and comes C. finds both boots full, at a loss what to do 
with it for a moment, then fulls dress up and puts it in pocket. Wor\ this for 
comedy} 

NEL. Oh, why doesn't Mose sound the signal? 

PEA. Here, Polly girl. How you-a like to come-a to my place? Wine, danc- 
ing, fine clothes, plenty de mon. Eh? 

BILL. I love to go if you give me just one mo [Pulls out whisker} 

PEA. Stop-a dat or I cut-a de neck. [All laugh} 

DEN. Let's have him out, boys, and kill him. 

PEA. I have-a de key. [Rises, shows J(ey t goes to door} 

NEL. Will Mose never come? 

PEA. [Pauses at door} All get-a ready boys. Shoot as soon as he comes out 
it he no have his-a hands up. [All rise. Bud has playfully chased Billy around 
table to C.} Polly, go up-a by de window, so you not-a get hurt. [Bill starts 
up} 

BUD. Wait a minute, Polly, I want to put my arms around you. 

PEA. [Impatiently} We got-a no time. 

BILL. [Retreating} Polly don't want your arms. 

BUD. Polly has got to have some arms. [Sharp bugle call. All turn. Nellie 
gives cry of joy. Bill grabs chair and dashes it through window. Mose appears 
behind broken window, bugle in one hand, leading horse with other. Bill 
reaches down, pulls up s^irt and draws two pistols from boots] 

BILL. Gentlemen, Polly has all the arms she needs. [All reach for pistols, 
find them gone. Except Bud who snaps his unloaded one. Peanut throws open 
closet door. Finds the closet empty} 

PICTURE 

2ND PICTURE: Colonel and Nellie R., Mose L., pointing pistols at men. Jennie 
down #., releasing Con. Bill astride horse, pulling Denver towards him by 
means of a lasso that is about Denver's body. Denver struggles but is slowly 
drawn up to window. Bud, Peanut and men down stage. 



242 WALTER WOODS 

ACT IV, 

SCENE : Same as Act L, except the whole act is moved nearer C. Return to house 
L.I. transparent when light is behind it, showing interior of room. Fireplace, 
at bac\; sofa and chairs. Windows on porch and windows in room boarded 
up. Porch, fence, etc., show signs of neglect and decay. Broken tree branches 
and leaves scattered about the yard. Pile of sand beside well, as though it had 
been dug out. Rope from porch to unseen flagstaff, supposed to be on top of 
house. Two long pieces of rope C. Con enters at rise, RUE. He is dirty and 
worn looking. 

CON. Sure, the place is just as we left it two weeks ago. [Goes to porch; 
sits] It's a foolish thing of Billy to come back here. They're sure to get him. 
An' think me own life ain't none too safe. They're hot on our trail. 'Tis a 
hard fight we had and lost. The old gang do be broken up for good. What 
wasn't killed was captured 'cepting Billy and me. I wanted him to jump for 
the bad lands, but no he must come here, back to his old home and his 
mother's grave. Why, it's ten to one shot they'll watch this place. I made him 
stay in the little grove of trees back there a ways, 'til I had a look around. 
If it's all O.K. I run a little flag up to the top of the house. That's the signal 
for him to come. [Rises] Well, I guess it's all safe enough. [Loo%s L] Hello! 
Who the devil do be this a coming. I don't know. [Hides behind corner of 
house L] I'll make a quiet investigation. [Peanut enters L.UJE.; glances 
around cautiously] 

PEA. He no-a here yet. But he-a come. He come because his mother buried 
out there. Dat-a good-a joke. We capture de kid through his-a dead mother. 
[Laughs] De boys wait back of de hill. When I-a sight him, I run-a dis flag 
up to de top of de house, den we-a have him. [Crosses to JR.] 

CON. Dago, if ye make another break like that, I'll blow the ends off yer 
whiskers. 

PEA. Yes ? you-a very funny man. But maybe you won't be so funny bye 
and bye. 

CON. Well, mebby you will be and that will even things up a bit, fer ye 
look like a funeral just at present. [They cross the stage eyeing each other 
suspiciously] 

PEA. [Aside ] Billy must-a be near, I give-a de signal. [Begins to unfasten 
rope on porch; ta\es out small Mexican flag] 

CON. What are ye going to do, dago? 

PEA. Dis-a one Mexican holiday. I will-a celebrate by running up dis-a 
flag. 



BILLY THE KID 243 

CON. [Drawing pistol] Do ye want a little fireworks, to help out the cele- 
bration? 

PEA. [Turns, throws up hands] No-a shoot, Con, no-a shoot. 

CON. Then drop that flag. [Peanut drops it] Now, we will celebrate in the 
decent way. [Hands him small American flag] Run this up to the top of the 
house. [Peanut loofe at it in disgust and hesitates] Go ahead, or I'll start the 
fireworks. 

PEA. Sacre! [Pic\s up American flag and hoists it} Sacre! 

CON. Don't ye call me that again! Now elevate yer hands while I remove 
the arsenal. [Peanut holds up his hands. Con ta\es the pistol} Now, dago, 
I'm going to promote ye. You shall be my valet. 

PEA. What-a dey? 

CON. Why, me man, you must clean me boots. 

PEA. I'll see you-a in Hell first. 

CON. All right, ye can start now, [Raises pistol} 

PEA. [In fright] Hold on. I shina de boots! 

CON. And ye must keep me wardrobe nicely brushed and pressed. 

PEA. All-a right. I press-a de ward. 

CON. And trot around after me wherever I go. 

PEA. Trot? You take-a me for a leede dog? 

CON. [Raises pistol] Good-bye, dago. 

PEA. Hold on. II trot. 

CON. [Throws him fay] Here, open the front dure. 

PEA. [Taking \ey and going to door] Dusta de clothes, blacka de boots, 
waga de tailjjrot Sacre! [Opens door] 

CON. Now, me bucko, we will go around to the stable, and you shall have 
the honor of stabling me horse. Cometrot. [Exit L.UJE.] 

PEA. Bud, he maka me bark like a dog, and now dis-a man, he mak-a me 
trot. Sacre! [Trots off stage after Con. Enter RJ. Colonel, Nettie, Mose and 
Jennie, very unmilitary; Mose is carrying old flag and bugle. Colonel is carry- 
ing satchel. Nellie has bird cage and Jennie a large medicine case} 

COL. The army is demoralized. 

NEL. Uncle, we can't stay here. 

COL. Well, we can rest a minute, can't we? WeVe got to water our horses; 
besides, we want a look at Wright's old place before we leave the neighbor- 
hood forever. [Wipes his eyes] 

Nwu [Sees him] Not forever, uncle. This will blow over. 

COL. Blow over? How can it? To think of that measley low con- 
temptible blackguard getting out warrants for our arrest, for "aiding, abetting 
and propensitating the escape of an outlaw." 



244 WALTER WOODS 

MOSE. And here we are, trying to aid and abet our own escape. 

JEN. Oh, Colonel, it is a shame! [She cries on his shoulder; Nellie cries on 
other] 

COL. Shame! Shame! It's a Hold on, Mose, don't you dare to swear in 
the presence o ladies. 

MOSE. Why, I wasn't going to. 

COL. Yes, you were. You were just watching for the chance. There, there, 
girls, don't cry! We'll pull through somehow, even with that profane Mose 
along. 

MOSE. Me profane? Huh? You're the champion cusser in this state and 
proud of it, too. 

COL. What, me? This to my face? You old sinner, look at these poor 
girls, crying their eyes out. All your fault. Why didn't you let 'em take Billy 
and be done with it? 

NEL. [Drawing away] Oh, uncle! 

COL. I mean it, [Jennie draws away] Then we wouldn't be in this fix. [To 
Mose] You brought his horse for him and brought all this trouble to us, so 
I may as well tell you now, to get out. 

MOSE. I am out, Colonel, and so are you. 

COL. That's so both out no home. Mose, old friend, put it there. We'll 
stick together through thick and thin. [They sha\e] 

NEL. What a wreck the old place looks! 

COL. Just as we left it three years ago, when Wright and his wife were 
killed. The lawyers locked up the place until they could find the heirs, Billy 
being outlawed, he didn't count. So far none have shown up, 

NEL. [Has crossed to porch] Why, the door is open. 

COL. Somebody must be here sheriff, maybe. 

MOSE. Let's hide, quick. 

JEN. What will become of us? 

COL. Stand your ground like a soldier. If we must go to jail, let us go like 
gentlemen. 

MOSE. Women and all? 

COL. Silence. [Calls] Hello there, anybody at home? 

CON. [Outside] Hello let go me arm, 

PEA. [Outside] Hello SacrS! You kick-a me! 

CON. I know it. [Outside] 

MOSE. Had we better retreat in good order? 

COL. A good plan, Mose. [Colonel, Mose and Jennie turn R. and begin 
tiptoeing off] 
NEL. [On porch] Halt! [They do] Stand your ground. 



BILLY THE KID 245 

COL. But my dear, a retreat in the face of overwhelming odds is always 
honorable. 

NEL. Overwhelming odds? Fiddlesticks! There are but two men and I 
recognize the voice of one. It's Con Hanley. [Con enters L.UJE., followed 
by Peanut] 

CON. Well, if it ain't the Colonel and family. How are ye? 

COL. Mighty glad to see you, Con. [Shades] 

MOSE. Mighty glad you're not the sheriff. 

CON. And there's Jennie. [Raises hat] 

PEA. Jennie! [Points at her] She run away. She-a my girl. [Jennie fright- 
ened] 

CON. [Slapping Peanut's hand] Put down your pointer, dago. What do ye 
want wid a girl anyhow? Ye've been married three times. 

PEA. Well, dey all-a dead. 

CON. Dead yer grandmother. Where do they be buried? 

PEA. Dey no-a be buried. I have-a dem cremated. 

CON. My! My! You've had wives to burn, haven't ye? And now ye want 
another. Bad cess to ye. I ought to give ye another kick. 

PEA. No no, no-a kick. 

COL. Let him alone, Con. The poor devil is frightened to death already. 

CON. Just as ye say, Colonel, but what are ye all doing here? 

MOSE. We're all outlaws now. 

COL. You see, Con, warrants have been sworn out for our arrest because 
we helped Billy and you escape. 

CON. The divil ye say? Well, one good turn deserves another. So Billy and 
me will help you all to escape. Just as soon as Billy takes a last look at the old 
place, we will all jump for the East. 

PEA. [Aside] I knew Billy would come-a here. 

COL. Don't believe I care to go that far, Con. Just over the border some- 
where until this cursed thing blows aver. Where would be a good place to 
stop? 

CON. Right here. 

ALL. Here? [As Nellie speaks, Con turns and sees her for the first time] 

CON. [Starts toward her, hand outstretched] Hello, Nellie. [Loofe at Pea- 
nut] Come on, valet, foller me up. 

PEA. Bow wow! [Trots over to Con who is shading hands with Nellie] 

CON. Yes, sir, stay right here. Ye are over the border just. No one ever 
comes this way and ye would be as safe as a bug in a rug as long as ye 
wanted to remain. 



246 WALTER WOODS 

COL. By jove, you're right. We're over the line. I had forgotten that. Hur- 
rah, we're safe. [Hugs Mose, hugs Jennie, hugs Peanut. When he sees who it 
is throws him off in disgust] 

PEA. Dat-a worse dan being a dog. 

NEL. Your hand is hot, Con, and you are shivering all over. 

CON. It's them Texas mothers, miss. 

NEL. Nothing of the kind. You are ill. [Crosses down] Uncle, Con has 
chills and fever, have you any medicine? 

COL. Best in the world, quinine and whiskey. Brr-rr-rr, I feel a chill my- 
self. [Picks up satchel] 

JEN. Oh, I hope Con is not going to be ill. 

CON. [Coming down] Divil a bit, Jennie; just the weather, that's all. 

COL. Jennie, you and Mose move that table over here. [They move table 
C.] I'll soon have him all right. [Puts satchel on table] 

MOSE. B-r-r, I feel a chill. 

COL. Those chills that come just when the whiskey bottle is opened, don't 
go, Mose. [Opens satchel] 

MOSE. Well you just had one. 

COL. Mine were genuine. Why, I'd take the quinine if there wasn't any 
whiskey. [Paws around in satchel] Jennie, you and Nellie go in and start the 
fire. Brrr, I've got an awful chill! 

NEL. Hurry, Jennie, or uncle will have a fit. [Both exit in house laughing] 

COL. Hm! Don't see anything to laugh at. Made fuss enough when Con 
shivered. 

MOSE. I have got a chill, Colonel. [Shades as hard as he can] 

COL. [Still fussing in medicine case] Won't work, Mose. 

PEA. Brr. I got-a de chill awful. [Shades] 

CON. Hold your whisht. Don't speak until I tell ye. Sit up on yer hind legs 
and beg. 

COL. Come, what are you doing with that fellow in tow? 

CON. Found him spying around here, so I captured him and made him 
me valet. 

COL. Oh, where the devil is Mose, did you put that bottle of whiskey 
in the satchel or the medicine case? 

MOSE. You wouldn't let me touch it. You said you would attend to it. 

COL. What! [Sinfys in chair] Alone no friends no home and no 
whiskey. 
MOSE. Never mind, Colonel, I didn't want it. 

COL. You didn't want it you 

MOSE. Hold on, Colonel, you never swear, you know. 



BILLY THE KID 247 

COL. Oh no, you didn't want it. Well I'll have to give Con the quinine 
straight. [Fumbles with boxes on table] 

MOSE. You must take some quinine yourself, Colonel. 

COL. What for? 

MOSE. Why, that awful chill of yours. You said you'd take it if there 
wasn't any whiskey. [Colonel glares at him] 

COL. Give me the canteen, Mose. 

MOSE. [Unslinging canteen from his shoulder] If you don't take it, 
Colonel, I'll think you were faking. 

COL. I wish you would mind your own business. Here, Con, take this. 
[Gives him powder] Wash it down with water. [Hands canteen. Con ta\es 
it] Suppose I'll have to take one just to satisfy that old doubting Thomas, 
there. [Tafes powder] Ugh, but this is awful. Anybody else? [Mose and 
Peanut $ha\e. heads] I knew it. Fakes, both of you. 

CON. [Sits on steps] My, my! But that stuff was bitter. 

COL. [Sits] Of all the runk-heads no whiskey 

JEN. [At door] Are you better, Con? 

CON. I'm a dom sight worse. 

JEN. I'm so sorry. [Exits in house. Colonel and Mose ransac\ satchel and 
medicine case again] 

CON. Sure, it's a fine girl she is. 

COL. I must have packed that bottle, Mose. 

MOSE. Hurry up and find it. Me mouth tastes like a glue factory smells. 

COL. That quinine tastes like the the very devil. 

MOSE. Say, Colonel, which box did you get those powders out of? 

COL. This one, of course. [Points to box] 

MOSE. [Astounded] This one? [Colonel nods] Good-bye, Colonel, old 
comrade, good-bye > Con, old friend. [Shades with both] 

COL. Where are you going? 

MOSE. I'm not going. You are going. These powders are marked, mor- 
phine, poison, [Colonel and Con clutch Mose by the arm] 

CON. Do ye mane it? 

MOSE. Read. [Shows box; both read and stagger bacJ(\ Good-bye, friends. 

PEA. Ha, haf Dat-a good-a joke. 

CON. Laugh ye hyena. But before I die, I'm going to wind up your 
worldly career. 

COL. [Hoarsely] Mose, old friend, don't let me go to sleep. Don't let me 
go to sleep. Walk me. That's my only chance. Keep me moving. [They lin\ 
arms and go out L.UE. Con has been toying with his pistol, Peanut appealing 



248 WALTER WOODS 

to him in dumb show} For Heaven's sake, Con> don't stand there. Walk, 
man, walk. Your life depends on keeping awake. Keep moving. 

CON. Dago, keep me walking. Don't let me lie down. If I find meself get- 
ting sleepy, I'll put an end to ye're dialect. 

PEA. I no let-a you sleep. [Grabs him by arm] Come, like one leetle dog 
trot. [Rushes Con off R.I.E.] 

NEL. [Appears at door] Come in, the fire is so cheerful. Why, where have 
they gone? [Enter Colonel and Mose L.iJE. singing "While We Are March- 
ing Through Georgia"; cross stage] 

NEL. Oh, uncle, the coffee is ready. Uncle! Mose! 

MOSE. [Stops] Eh? What? 

COL. Don't stop, you idiot. Do you want me to die right here ? Keep mov- 
ing. [Grabs Mose and both exit R.iJE. singing "While We Are Marching 
Through Georgia''] 

NEL. O-o-oo, it's the medicine. I knew uncle couldn't stand the whiskey. 
[Cries] To think of it and at such a time, too! 

JEN. [Enters] What is the matter, dear? 

NEL. The medicine was too much for uncle. [Exits in house crying] 

JEN. Why, what can have happened? 

JEN. [Enter Con and Peanut R.UJE. Con is singing: "He Marched Thim 
Up the Hill, Me Boys, and He Marched Thim Down Again"] Oh, Con, come 
and get some hot coffee. Con Con! 

CON. [Stops] Eh? What, me dear? 

PEA. No-a stop. I want-a me dialect. [Drags him along] 

CON. Farewell my dear, if I hadn't taken the stuff 

JEN. Was it the medicine, Con? 

CON. I should say it was. Good-bye. Perhaps in another world 

PEA. No-a sleep keep moving, [Drags him off L3JJE. Con sings "He 
Marched Thim, etc." in distance} 

JEN. Nellie! Nellie! Come here, quick. [Nellie enters] Something has 
happened to uncle. Con just went by, singing as though his heart would 
break. 

NEL. So did uncle. 

JEN. Con said it was the medicine. 

NEL. Yes whiskey, 

JEN. O-o-oh! [Enter Mose and Colonel, L.UJS., Colonel tired and fright- 
ened] 

COL. Mose, if I ever get out of this, you shall be promoted to Major. [They 
come down C] Oh, what an end for a brave soldier! Mose, Fm tired. 

NEL. You look tired, uncle. Sit down and rest. 



BILLY THE KID 249 

COL. Rest? Girl do you want to be a murderess? Out of my way! Keep 
moving, Mose, keep moving. [Exit L.iE. singing "While We'/ etc.] 

NEL. They have gone crazy. 

JEN. What can we do? [Enter Con and Peanut LUEI\ 

CON. Dago, if I ever walk this off you shall go free. 

PEA. Good-a boy. [They come down C.] 

JEN. Con, what is the matter. 

CON. [Stops] Well ye see, me dear 

PEA. Don't-a stop. Keep moving. [Drags him away} 

CON. [Being dragged backwards by Peanut, talking to Jennie] I hain't got 
the time ter explain now. Perhaps in another world. 

PEA. Come-a on! [Con turns, begins singing "He Marched" etc. Both exit 
JRjr.E.] 

NEL. We must stop them. 

JEN. How can we? 

NEL. [Determined] We will lasso them. 

JEN. But I can't lasso. 

NEL. You can try. Here. [Picfys up piece of rope] Make a noose in the end 
of that. I'll take this piece. Slip it over Con's head and I'll do the same to 
uncle. [They fix ropes. Enter from R.iJE. Con and Peanut. Enter from L.iJE. 
Colonel and Mose. They stop near C. and glare at each other. Jennie slips be- 
hind Con and Nellie behind Colonel] 

COL. [Glaring at Con] There stands the cause of all this. If it hadn't been 
for that confounded chill 

MOSE. Don't stop. Keep moving. 

CON. [Glaring at Colonel] There stands me murderer. 

PEA. Don't-a stop Keep-a de move. 

CON. I won't stir an inch further. I'm going to die before his very face. 

COL. [Folds arms} So am I. [Nellie slips noose over Colonel's head; Jennie 
same business with Con] 

MOSE and PEA. Walk. [Tries to pull them] 

NEL. and JEN. Stop! [Both sides pulling] 

COL. Here! Stop it. Let go, some of you. 

CON. What is this a tug of war ? 

NEL. Now stand where you are and tell me what is the matter? 

PEA. Tell her while-a walking. 

COL. [Desperately] We've taken morphine for quinine. [Groan. Nellie 
and Jennie scream; both run to table and examine boxes'] 

MOSE. Keep a-moving. 

COL< Not another step. Let me die with my face to the foe. 



250 WALTER WOODS 

NEL. There must be an antidote, somewhere. 
CON. Dago, I'm getting sleepy. 
PEA. [In fright] No-a sleep. Keep-a de move. 
CON. It's no use. [Sits on ground] Dago, pull off me boots. 
PEA. [Pulling off boots] Oh, I lose-a de dialect. 
CON. I always swore I would never die wid me boots on. 
MOSE. Want your boots off, Colonel? 
COL. No, sir. This is the way a soldier should die. 
CON. Shot in the stummick wid morphine powder. [Mose shows Nellie 
box} 

NEL. Uncle, how many morphine powders did you have? 
COL. [Groans] Just an even dozen. 

NEL, Well, they're all here. Mose made a mistake in the boxes, that's all. 
[They all loof( foolish] 

COL. [Reproachfully] Mose, how could you? This was all hatched in your 
infamous brain. Just to get me to promote you. [Sadly goes to house, rope 
trailing behind] 

MOSE. On my word o honor, I did nothing of the kind. [Following] 
COL. Your word of honor? Don't don't add falsehood to your other 
crimes. [Exits in house, followed by Mose, still arguing] 
NEL. How ridiculous it all wasl [Exits in house, laughing] 
CON. Dago, pull on me boots. [Peanut does so] Now, although I have 
lost me dignity [Rises], likewise me chance for a dacent burial, I'll keep me 
word with you. You can go. 

PEA. Oh, tank-a you. [Goes up L., aside] Now to tell-a de gang, [Exits 
LUE] 

JEN. Come in to the house, Con, and get a cup of coffee. It will make you 
feel better. 

CON. Sure I feel like a bird cleaned and picked. Fm sorry to disappoint 
ye about the funeral. 

JEN. Oh, Con, wouldn't it have been dreadful if you had taken morphine, 
CON. Well, I dunno. Nobody would care a rap except Billy, 
JEN. Con, how can you say that. I would. 

CON. [Loo^s at her in surprise] Jennie, me girl, if I thought ye would be 
glad to see me alive, I could die happy. 

JEN. [Laughs] But I don't want you to die. [Serious] Ever since the night 
you tried to shield me from those wretches in the Broken Heart, I have felt 
for you as I never felt for another being except my mother, 
CON. [Astonished] Jennie! [Holds out his arms] 
JEN. [Drawing bacJ(\ No no, not that. 



BILLY THE KID 251 

CON. I thought the feeling was all on my side 

JEN. Don't say any more. I don't want pitythe old life is past. 

CON. [Thoughtfully] Me work here is finished. In five minutes I leave 
this place forever. Me life is uncertain and me prospects more so. Jennie, will 
ye share me lot, whatever it may be? Will ye be my wife? 

JEN. Your wife? Oh, Con, I cannot. My life has not been 

CON. Neither has mine. The good book says; "Let him without sin cast 
the first brick." I'm not here to judge. I love ye. I offer ye an everlasting de- 
votion and a strong arm, that will fight me way to the front when I get to 
New York. Will ye come? 

JEN. [Puts hands in his] Yes Con. 

CON. Hurrah! I'm glad the dom stuff wasn't quinine. Jen, give me a hug. 
[They embrace] Now, let's not tell the folks anything about it. I'll leave a 
note for them explaining matters. My horse and the dago's is in the stable. 
We'll be married at the first station, then for New York. 

JEN. What are you going to do in New York, Con? 

CON. Why, be a policeman, of course. [They exit L.iJE. Enter Denver and 
BillRjJE.] 

BILL. Have you lost your tongue? We stood beside my mother's grave and 
you shook like an aspen, but refused to speak. Why do you gaze at that well? 
You seem frightened. 

DEN. A grave a grave my grave. [Sini(s down] 

BILL. Very likely. You know why I brought you here. 

DEN. I am innocent. Don't kill me. 

BILL. You killed my parents. 

DEN. You have no proof. You are trying to compel me to confess to 
something I did not do. 

BILL. You killed them. 

DEN. I saw them die. Give me a chance and I will tell you how. 

BILL. You killed them. 

DEN. As God is my judge. 

BILL. You killed them. 

DEN. Yes [Head sinJ^s in hands'] 

BILL* Ah! [More of a long drawn sigh than a word} 

DEN. [Shivers] I am so cold. 

BILL. You shall give me the details but we must be quick. As we came 
along I saw a number of horsemen circling about the hill yonder. In ten 
minutes this place will be surrounded. They are coming for me. 

DEN. With your own life in the balance, why can you not be merciful? 
Let me escape while there is yet time. 



252 WALTER WOODS 

BILL. No power on earth would make me release you. As for death, my 
work is nearly finished. I did not rush blindly into this trap. I knew the stakes 
and am prepared to pay the price. We shall die almosttogether 

DEN. [Shudders] I am so cold. 

BILL. Go into the house. Con has a fire, I suppose. I will join you in time 
to hear your story, go! 

DEN. [Sneaking to house} We -shall- die almost together. [Exits in 
house. Bill sits at table. As Denver enters house the interior is lighted up, 
showing Colonel, Mose and Nellie seated. Denver goes to fire without no- 
ticing anybody and sin\s down before it] 

NEL. How comes that man here? [Goes to exterior door] 

COL. Come, Mose, we will go elsewhere. [Exits with Mose door L. Lights 
go out in house. Nellie enters from house] 

NEL. Billy! [Runs to him] 

BILL. [Rises astonished] Nellie! What has happened? Why are you here? 

NEL. We are in hiding. The law is hounding us for aiding your escape. 

BILL. [Bitterly] Noble law! To wage war on two women and two in- 
offensive old men. 

NEL. But I am glad it happened. We are all going East for a while. And 
Con said you were going too. So we shall all be united, where there is no 
trouble, sin or sorrow. 

BILL. Where there is no trouble sinor sorrow. Yes, that's where I am 
going. But I take a different road than you. 

NEL. Why can't we all go together? 

BILL. I cannot go your way. I would not have you go mine. 

NEL. Billy! You don't mean you are going to stick to this for life? 

BILL. God forbid. I am done with everything. Our paths lie apart. 

NEL. Billy, have you forgotten the boy and girl vows we made? Our paths 
did not lie apart in them. Do you remember how we planned for a happy 
future when you became a man? Our paths did not lie apart then, Billy, I 
have always loved you, for my sake will you not come with us and begin 
that other better life? 

BILL. Don't! Don't! You torture me. Do you fancy I never think of those 
things? Out of the waste and desert of my life, with its memory of the fair 
prospects the husk and the swine. I seem to be looking through a window 
at a peaceful life as a hungry, lonely tramp may limp to a lamp lit window, 
and, peering in, see father, and mother, and round faced children, and the 
table spread whitely with the good sure food that to these people is a calm 
certainty, like breathing or sleeping not a joyous accident, or one of the 
great things that man was taught to pray for. The tramp turns away with a 



BILLY THE KID 253 

curse or a groan, according to his nature and goes on his way, cursing or 
groaningor, if the pinch is too fierce, he tries the back door. With me the 
pinch is great and I feel like trying any door not to beg for the broken meats 
of pitybut to enter as master of all the happiness that should be mine. But 
it is too late. 

NEL. It is never too late to mend. Oh say you will come with us. 

BILL. Nellie, I must tell you something. When I saw you just now, I al- 
most cursed the fates that brought you, but now I am thankful I shall at least 
have about me, those I love, during my- last moments. 

NEL. [Startled] Billy, what do you mean? 

BILL. This is the final chapter in my career. I am about to avenge the 
murder of my parents, but the effort will cost me my life. 

NEL. Billy! 

BILL. The house is already surrounded. I can never leave here. It is better 
so; otherwise I might be tempted to seek for happiness in that other life, with 
you. No, no. It is better as it is. Go go in the house. I have but a short time 
to prepare for [He leads her to house; she is crying] 

NEL. You must escape. Go now. 

BILL. I cannot. The effort would but hasten my end. Bear up, it is better 
so. [Leads her in house; both exit. Enter Peanut followed by Bud, L.Z7JE. 
They crawl around to porch] 

PEA. I tell-a you dat was-a him. 

BUD. Well, I wanted to be sure; that long coat fooled me. 

PEA. You got-a all de men stationed so he no get away? 

BUD. Bet your life I have. If he shows his nose at door or window he's a 
gonner. 

PEA. Shoot-a to kilL And mine, if dat-a Con man dere, I want-a him. He 
shin-a de shoes, he dust-a de ward, he wag-a de tail, he t-r-o-t! 

BUD. Get over there behind that wagon. Don't expose yourself and don't 
fall asleep. Well have him, if it takes a week. 

PEA. [Going up L] I get-a de Con man, don't forget. [Exits L.UJE. Bud 
exits R.UJE. Lights go up in house; Bill and Denver discovered] 

BILL. You say my mother's death was an accident and my father was 
killed in self-defense? 

DEN. [ Wearily] I am speaking the truth. 

BILL. And the motive for this attack on you? 

DEN. He sought my life on learning my true identity. 

BILL, Which was? 

DEN. My name is Boyd Bradley. Your mother was my wife. 

BILL. What! 



254 WALTER WOODS 

DEN. When she married Stephen Wright, she thought me dead, I had 
been unkind to hereven deserted her. You see, I am not sparing myself; I 
am telling the truth. 

BILL. You monster! And do you think the truth will save you after your 
cruelty to my mother? 

DEN. I don't care for mercy. I am past that. I wanted you to know all 
before we both -go almost together, for I am your father. 

BILL. My father you! 

DEN. Had you a chance to live, you could easily prove my statement; your 
birth is duly recorded in New York. I took the trouble to look it up. You were 
a year old when your mother married Wright. 

BILL. [Stunned] You my father. 

DEN. I have told you all. Now kill me if you wish. 

BILL. Oh, God, how little we know of Your greatness Your power. This 
is my revenge. My father the father I should love and cherish I have 
been hounding to his death, thinking I was carrying out Your divine will I 
bow to Your mighty wisdom. I am justly punished. [Sinfe on fates, over- 
come] 

DEN. [Goes to him] My son 

BILL. [Rises] Don't touch me. Go go, you are free. Go and let me have 
a minute alone with my Maker. 

DEN. There is no hope of your escape? 

BILL. If there was, I wouldn't take it. Go! [Denver starts to door] Father! 
[He stops] Take my coat. You are thinly clad and deadly cold. My hat also; 
you are without one. [Denver puts them on] Here, father, is my revolver, I 
shall not need it again. [Gives him pistol] Good-bye father. [Holds out 
hand. Denver clasps it, then passes through door, leaving door open. Bill sinl(s 
on fynees, Denver pauses outside, near well] 

DEN. Free, free at last. He will be dead in ten minutes and then a for- 
tune for me. [Loo^s through door] There he is, praying. Pray, damn you* 
It won't do you any good. Suppose he should escape? He has done it before, 
I'll take no chances. [Raises revolver, aims at Bill through open door* Two 
gun shots heard from R.UJE* Denver throws up hands, screams and falls in 
well. At sound of shots, Bill springs to door and closes it. Enter Bud followed 
by two men, RJJJE. Enter Peanut followed by one man, LJUJE* All run to 
well] 

BUD. [Listens for a second] Not a sound. Hurrah! Billy the Kid is dead! 
[Enter from door L, Nellie, Colonel and Mose] 

NEL. [Half screams] Billy dead? [Sees him at door] BiUyl 

BILL. Sh-h-h! 



BILLY THE KID 255 

PEA. Let's get-a him out. 

BUD. Too much trouble. Why ye can't see the bottom. Let him stay down 
there. I'm off for the reward. If the authorities won't believe he's dead, let 
'em come and dig him up. Eh, boys ? 

ALL. Yes. That's it, etc. 

BUD. Come on boys, I want that dough in a hurry. [All go up JR.] 

PEA. [Following] I wanted de Con man [Others exit R.UJS.] to shine de 
shoes, to dust-a de ward [Exits R.UJE.] To [Outside] to t-r-o-t! 

BILL. To the law I am dead. Today my life begins anew. Come Nellie 
we'll wander down life's pathway together, where the sun shines always 

NEL. Billy! [Embraces] 

CURTAIN 



America's Lost Plays 



VOLUME 1 
DION BOUCICAULT 

Plays: Forbidden Fruit, Dot, Flying 
Scud, Louis Xl t Robert Emmet, Pre- 
sumptive Evidence (Mercy Dodd) 

EDITED BY ALLARDYCE NICOLL AND 
F. THEODORE CLOAK 

VOLUME 11 
WILLIAM DUNLAP 

Plays: Thirty Years; or, The Gambler's 
Fate, False Shame; or f The American 
Orphan in Germany 

EDITED BY ORAL S. COAD 

VOLUME 111 
GEORGE HENRY BOKER 

Plays: The World a Mas\, Glaucus, 
The Bankrupt 

EDITED BY SCULLEY BRADLEY 

VOLUME IV 
MISCELLANEOUS 

Plays: Across the Continent, by J. J. 
McCloskcy, Roscdale, by Lester Wai- 
lack, Davy Crockett, by Frank Murdoch, 
Sam' I of Posen, by G. H, Jessop, Our 
Boarding House, by Leonard Grover 

EDITED BY THE LATE ISAAC GOLDBERG, 
COMPLETED BY HUBERT HEFFNER 

VOLUMES V AND VI 
JOHN HOWARD PAYNE 

Plays: Trial without Jury: or, The 
Magpie and the Maid, Mount Savage, 
The Boarding Schools, The Two Sons- 
in-Law, Masseppa, The Spanish Hus- 
band, The Last Duel in Spain, Woman's 



Revenge, The Italian Bride, Romulus, 
The Blac\ Man 

EDITED BY CODMAN HISLOP AND 
W. 5. RICHARDSON 

VOLUME VII 

JAMES A. HERNE 

Plays: Drifting Apart, The Minute Men, 

Within an Inch of His Life, Griffith 

Davenport (fragment) 

EDITED BY ARTHUR HOBSON QUINN 

VOLUME VIII 
RECENT MELODRAMAS 
Plays: A Royal Slave, by Clarence Ben- 
nett, The Great Diamond Robbery, by 
Edward M. Alfriend and A. C. Wheeler, 
From Rags to Riches, by Charles A. 
Taylor, No Mother to Guide Her, by 
Lillian Mortimer, Bitty the Kid, by 
Walter Woods 

EDITED BY GARRETT H. LEVERTON 
VOLUME IX 

CHARLES HOYT 
Plays: A "Bunch of Keys, A Midnight 
Bell, A Mil% White Flag. A Trip to 
Chinatown, A Temperance Town 

EDITED BY DOUGLAS L. HUNT 

VOLUME X 
BRONSON HOWARD 
Plays: Knave and Queen (Ivers Dean), 
Old Love letters, Hurricanes* Baron 
Rudolph, Tt Banker's Daughter, One 
of Our Girls 

EDITED BY" ALLAN O. HALLINB 
VOLUME XI 

STEELE MAcKAYE 
Plays: Rose Michel, Won at Last, In 
Spite of All, An Arrant Knave 

EDITED BY PERCY MACKAYE 



VOLUME XII 

ROBERT MONTGOMERY BIRD 

Plays: The Cowled Lover, Caridorf, 

Nezvs of the Night, 'Twas All for the 

Best 

EDITED BY EDWARD H. o'NEILL 



VOLUME XIII 
RICHARD PENN SMITH 

Plays: The Sentinels, The Bombard- 
ment of Algiers, William Penn (frag- 
ment), Shakespeare in Love, A Wife 
at a Venture, The Last Man 

EDITED BY H. W. SCHOENBERGER 
AND RALPH H. WARE 

VOLUME XIV 

MISCELLANEOUS 
Plays: Metamora, by J. A. Stone, Tan- 
cred, by J. A. Stone (one act), Signer 
Marc, by J. H. Wilkins, The Battle of 
Stillwater, by H. J. Conway, The Croc^ 
of Gold, by Silas S. Steele, Job and His 
Children, by Joseph M. Field, The 
Dune's Motto, by John Brougham, The 
Spy, by Charles P. Clinch, The Usurper, 
by J. S. Jones 

EDITED BY EUGENE R. PAGE 



VOLUME XV 
ROYALL TYLER 

Plays: The Island of Barrataria, The 
Origin of the Feast of Purim, Joseph 
and His Brethren, The Judgment of 
Solomon 

EDITED BY ARTHUR WALLACE PEACH 
AND GEORGE FLOYD NEWBROUGH 



VOLUME XVI 

HISTORICAL AND ROMANTIC 

PLAYS 

Plays: Monte Cristo (as played by James 
O'Neill), Hippolytus, by Julia Ward 
Howe, Mistress Nell, by George Hazle- 
ton, Bec\y Sharp, by Langdon Mitchell, 
The Warrens of Virginia, by William C. 
deMille 

EDITED BY J. B. RUSSAK 

VOLUME XVII 

HENRY c. DEMILLE 

IN COLLABORATION WITH DAVID BELASCO 
AND CHARLES BARNARD 

Plays: The Main Line, The Wife, Lord 
Chumley, The Charity Ball, Men and 
Women 

EDITED BY ROBERT HAMILTON BALL 

VOLUMEXVI11 

DAVID BELASCO 

Plays: La Belle Russe, The Stranglers of 

Paris, The Heart of Maryland, The Girl 

I Left Behind Me, Naughty Anthony 

EDITED BY GLENN HUGHES AND 
GEORGE SAVAGE 

VOLUME XIX 
BARTLEY CAMPBELL 

Plays: The White Slave, My Partner, 
The Galley Slave, Peril, Fairfax, The 
Virginian 

EDITED BY NAPIER WILT 

VOLUME XX 
AUGUSTIN DALY 

Plays: Man and Wife, Divorce, The 
Big Bonanza, Pique, Needles and Pins 

EDITED BY CATHERINE STURTEVANT 



32680